Signe - Edition 3

S I G N É

WATCHMEN OF TOMORROW A LOOK AT THE NEWEST HOROLOGICAL RELEASES FROM SIHH 2014

THE ART OF THE TRENCH COAT FROM WARZONE TO WARDROBE, THE TRENCH COAT’S ICONIC STORY

STYLE STAKES

A sartorial guide to the odds-on-fashion-favourites fit to be worn at the world’s most prestigious racing carnivals.

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

davidoff.com

TRUE LUXURY SINCE 1922

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Via Fatebenefratelli, 17 - 20121 Milano www.pratamastrale.it

Design of luxury interiors and implementation of turnkey projects

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DESIGN AND PRODUCTION OF EXCLUSIVE CUSTOM-MADE FURNISHINGS AND BOISERIE

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CONTENTS

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Global CEO of Oettinger Davidoff Group Hans-Kristian Hoejsgaard discusses the growth in the cigar industry and the launch of a new Nicaraguan blend

As a gentleman of style, Ferrari Middle East & Africa’s general manager Giulio Zauner discusses his professional and sartorial journey

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High-end textile manufacturer Luciano Barbera is regarded as Italy’s reigning prince of style

American literary icon F. Scott Fitzgerald’s books captured the Jazz Age in all its glamorous glory

A MAN APART

JOURNEY OF TASTE

MAESTRO OF ELEGANCE

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ALL THAT JAZZ

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CONTENTS

S AV O I R FA I R E

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THE ART OF THE TRENCH COAT An iconic garment, the trench coat carries all the vintage charm of the last century

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GENTLEMAN’S GROOMING GUIDE Murdock London and D.R. Harris & Co. give insight into how best to perform the art of ablution

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TRICKS OF THE TRADE While big brands hit the Milanese runway, we take a look at the city’s bespoke tailoring houses

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STRATUM Find out how glass is made and where the most exquisite creations can be found

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WELL HEELED John Lobb’s shoemaking mastery makes it a leader in the British cordwaining tradition

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CONTENTS

S IGN É S E L EC TION

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SHOOTING COMPANION This drinks caddy designed by furniture maker Linley, offers elegance in its detail

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FASHION PICKS A look at the trends and highlights from Milan Fashion Week’s A/W 2014 offering

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EDITOR’S PICKS FOR HER Exquisite pieces to set her heart aflutter, our selection is all you need for the perfect gift idea

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WATCHMEN OF TOMORROW SIHH showcases the latest creations of the most sought-after brands in the horological industry

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SOUNDS TRUE Bowers and Wilkins 800 Diamond series speakers are the audiophile’s best friend

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CATALOGUING THE PAST Vintage Menswear: A Collection from The Vintage Showroom is the definitive book on masculine style

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CONTENTS

PHIL ANTHROPY 102

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Diesel has come to the rescue of one of Italy’s most famous sights by funding the restoration of the Rialto Bridge

Petit h from Hermès shows a conscientious effort from a brand keen to make beautiful objects from recycled materials

BUILDING A BRIDGE

WASTE NOT...

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GREEN AGENDA Gemfields offers a unique perspective on the ethical sourcing and mining of some of the world’s most precious gemstones

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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

CONTENTS

OBSESSION

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A guide on what to wear to the most important racing fixtures of 2014

Mr Martini offers bespoke motorbikes for those who crave individual flare

Office accesories don’t get any more prestigious than pieces from Italy’s finest stationer

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Manhattan’s private clubs are the meeting point of the city’s bluest of blue bloods

Bar Billiards is a fast-paced traditional pub game with an intricate set of rules

STYLE STAKES

BEHIND THE ELITE GATES

REINVENTING THE WHEELS

SIGNED, SEALED, DELIVERED

THE BALANCE POINT

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CONTENTS

H E R I TA G E 148

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Neapolitan sartorial heritage is steeped in local history and remains a beacon for bespoke service and personal style

The 1950s heralded the start of the time when the modern-day man took control of his personal style story

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The British gunsmithing tradition still thrives at James Purdey & Sons London store

The IWC Schaffhausen museum offers visitors the opportunity to get up close to its archive of beautiful timepieces

THE SARTORIAL HERITAGE

DEMOCRATISING FASHION

TIME KEEPERS

FLAIR GUNS

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CENT’ANNI! Maserati celebrates its 100th anniversary by paying tribute to its rich history of creating beautiful, powerful and passionate vehicles

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CONTENTS

L A D O L C E V I TA

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The SS Sudan offers a tranquil method from which to explore the Nile’s upper reaches

Unfamiliar walls of a hotel can be made homey with travel accessories from Otis Batterbee

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Excitement, thrill and adventure await those who dare to join Breitling’s daredevil wing walkers

Le Polo Club du Domaine de Chantilly plays host to premium polo and wild desert adventure

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Alta Badia’s Michelin starred chef patron Claudio Melis brings authentic Italian cuisine to Dubai

Bombadier’s latest all-new release extends the brand’s lead at the top of the charter industry

THE JEWEL OF THE NILE

TAKING WING

ALTERNATIVE VISION

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THE PERFECT COMPANION

PALATIAL POLO

KING LEAR

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PUBLISHERS’ LETTER www.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 Damiano Groppi Additional Images by Getty Images

What defines personal style? That is the question we have striven to answer in this edition of Signé, dubbed “Gentlemen in Vogue”. We have taken the opportunity to look closely at what style truly means

ADVERTISING for advertising Inquiries advertising@admaioramedia.com

and within these pages, the entire spectrum of fashion can be found, from bespoke tailoring of the Neapolitan tradition to the latest offerings released at the SIHH watch showcase in Geneva.

We also pick our favourite looks from Milan Fashion Week – which has given us insight to

CONTRIBUTORS Emanuele Lizza, Silvia Pennacchio

the direction that menswear is heading in the latter part of 2014. If the catwalks are anything to go by, we can look forward to an autumn and winter season full of rich fabrics, decadent plaids and inky autumn tones in layers of boxy and relaxed cuts. But Milan is about much more than simply what appears on the catwalks. It has a strong and vibrant bespoke heritage, which continues to go from strength to strength and we take a look at some of the city’s most famous bespoke ateliers specialising in suiting and shoemaking for the discerning client.

As usual, we have highlighted some of our favourite objects and accessories that no modern gentleman should be without in our Selection section, including beautiful pieces from Linley, Bowers and Wilkins and Desvall, to name just a few.

Our cover story this month reviews the fashion etiquettes of the world’s most famous horseracing events. Should you receive an invitation to one of the four race meets we have featured, including the Dubai World Cup which is fast approaching, this article will give you a sartorial nudge in the right direction. The immensely talented Damiano Groppi designed the cover for this edition and we think you’ll agree he has done a beautiful job!

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D an ie l & R os h in 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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J O U R N E Y O F TA S T E

JOURNEY OF TASTE GLOBAL CEO OF OETTINGER DAVIDOFF GROUP HANS-KRISTIAN HOEJSGAARD GIVES US HIS TAKE ON WHY CIGAR SMOKING IS STILL CONSIDERED TO BE A LUXURIOUS, DESIRABLE PASTIME AND DISCUSSES THE RELEASE OF DAVIDOFF’S NEW NICARAGUAN SERIES.

Emirati culture is intertwined with that of tobacco. Fruit and spice laced shisha is smoked nationwide from café to Majlis and remains a delightful cultural icon that shows no signs of diminishing. But smoking culture in the UAE is not merely about the “hubbly-bubbly” or a crafty cigarette. Other, more luxurious tobacco products are in the ascendancy.

Cigars have an undeniable association with the finer things in life, perhaps because of their natural pairing with fine spirits, or even that the very best of them have often been extremely hard to come by – in one of those strangely human, contradictory ways, rarity of supply often increases demand in that which inspires and captivates. There has been a marked increase in demand in the cigar segment in the last few years – somewhat surprising, considering the tobacco industry is one of the most aggressively regulated and heavily policed, even here in the UAE. However, this upward trend does not come as a surprise to Hans-Kristian Hoejsgaard, Global CEO of Oettinger Davidoff Group. Despite regulatory issues with advertising and promotion, he believes that “an elegant cigar is a pleasure and pleasure cannot be prohibited.”

Born into a Danish tobacco family that distributed cigars and pipes, Hans-Kristian’s career began in his family business, moving boxes in the firm’s warehouse. He left the company aged 26 and has since worked for long periods of time as a brand equity and retail specialist in a variety of consumer goods segments, including spending fifteen years within the global luxury field but his

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career went full circle, when in 2011, he assumed his current position.

Hoejsgaard believes that the reason cigar culture is blossoming in the UAE comes down to the combination of heritage and time. “When we talk about hand-rolled cigars we automatically talk about a luxury product with a five-hundred-year-old tradition. Shisha is part of a similar culture, one that requires you to take your time in order to enjoy its pleasures. The same goes for cigars. When it comes to smoking, and life in general, time

and pleasure are inseparable.”

In terms of what appeals to local clientele, the market on the whole has become more knowledgeable and sophisticated in understanding and appreciating the finer points of smoking cigars and today, Davidoff is offering a wider range of cigars to suit. “A cigar is an object of taste, stimulation and individual pleasure. Everyone should discover his own preferences because a cigar offers magnificent sensations. There is definitely a cigar for every aficionado”, he explained.

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Mr Hoejsgaard has begun to notice the industry evolving of late with a prevailing trend for full-bodied cigars with bold, robust and intense flavours and larger ring gauges (diameter). It is with this full-bodied flavour and taste in mind, that Davidoff has launched its new Nicargua series. The new products are made from 100 per cent Nicaraguan tobacco and combine ten-year-old Havana seed Nicaraguan Rosado wrapper with a binder from Jalapa and a tobacco blend from Esteli, Condega and Ometepe as an insert.

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FLAVOUR PROFILE While cuban cigars are still regarded as being some of the most seductive and coveted, new blends from other regions are beginning to gain a distinct appreciation. The new Nicaragua series from Davidoff aims to challenge the established view and capture the imagination of the cigar conoisseur.

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The series consists of three shapes of cigar: Toro, Robusto and Short Corona.

The Nicaraguan range has been specifically designed to stimulate the palate of the smoker, which is activated through a balanced blend of flavours touching the taste buds that perceive sweet, sour, salty and spicy tastes. To create this complex and interesting taste, tobaccos from all four major Nicaraguan tobacco-growing regions are included. “Each provenience delivers different stimulation and taste. Blending this line was a tremendous challenge to our master blender Hendrik Kelner and his team,” explained Hans-Kristian.

The flavour profile of this South American blend starts with notes of white pepper that comes with a typical Nicaraguan stimulation at the back of the palate. As the cigar continues, its flavour becomes milder with a distinctive and enjoyable sweetness. As the aroma becomes milder, and flavours of roasted coffee beans and

dark, bitter chocolate come to the fore, the cigar develops creaminess at the end of the second third. During the last third, the cigar keeps building to a balanced and exciting finale. It offers a top to bottom smoking experience that is designed specifically for aficionados and to be savoured at each phase of its development – particularly with a good Cognac, an Armagnac or a Whisky in hand.

Hoejsgaard’s personal taste reflects his deep respect and knowledge of his product.

This means that he is a fitting champion of cigar smoking and a connoisseur on a personal level. “There is a cigar for every occasion in my life. Right now my favourite is Davidoff Nicaragua Toro — my big cigar after lunch or dinner. But my choice depends on my mood and how much time I have.

But an elegant Davidoff No. 2 with a glass of Champagne, Davidoff Millennium Blend Robusto or Lancero and a Davidoff Short Perfecto are always in my repertoire.”

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Davidoff’s commitment to developing not only the brand but also the market comes from its famous attention to detail. With its “crop-to-shop” philosophy, it controls every aspect of production - from the seed to the moment its products are sold in the stores.

This means that Davidoff can guarantee both consistency in quality and in the smoking experience. But Hans-Kristian acknowledges that despite best efforts, cigars are essentially a natural product, and sourcing and cultivating the finest raw materials is the key to any further success. “Quality cannot be achieved without a perfect “collaboration” between nature and man. The best quality cannot be achieved unless experts have a comprehensive knowledge of how these factors affect the growth of the tobacco. The processes of curing, fermenting and ageing the tobacco leaves and the cigar rolling technique make it possible to enhance the work of nature because these techniques have been fully understood and mastered.”

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MAESTRO OF ELEGANCE

Maestro of elegance Luciano Barbera is a high-end textile manufacturer and clothing designer with an impeccable sense of style and an atypical philosophy towards his trade.

They say a picture paints a thousand words. So picture if you can, a man wearing a handmade double-breasted, charcoal coloured, flannel suit, paired with a white-cream linen shirt, buckled black shoes, accessorised with a spotty dark blue tie and a blue-yellow-burgundy, paisley patterned pocket handkerchief, and you’ll get a pretty eloquent description of the unique and revered style of Luciano Barbera. Often referred to as “the most elegant man in the world” and “Italy’s reigning prince of style,” he believes that the secret of his sartorial charm lies in avoiding being “branded” and sticking to the style of clothing he likes best.

Luciano was born into one of Italy’s most renowned fabric making families – the son of famed textile giant, Carlo Barbera. In 1949 Carlo Barbera became the owner of a small mill located high in the mountains in

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THE JACKET “A suit tells the world you are ready for business. A jacket tells the world you are open to fun. For me the ideal jacket should have soft and natural lines and balanced proportions. It should fit you but not constrict you. I do not believe in stiff shoulder pads. That is vanity, not style. Any time I see a man playing golf or tennis in his jacket, I know he and I could be friends.”

the Biella region of northern Italy, and despite the post-war recession, began producing expensive, superfine fabrics made of wool and cashmere.

Soon after starting his production, Carlo sent his son Luciano – then aged twenty - to England to learn the family trade at the famed fabric mills in Leeds and Staffordshire. At that time, young Luciano was enjoying his life,

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riding horses and having fun with his peers, but he readily accepted the chance to learn more about the family business.

In the 50s English fabrics were considered to be the best in the world and the most important thing Luciano learnt from his apprenticeship there was the significance of colour in a man’s suite. “Today most people associate colour with Italian dress, but back then, when I crossed the channel, (the abundance of colour used in fabrics) was like a miracle for me,” says Luciano. While in the UK, he also accumulated the invaluable knowledge in the art of fabric making – combing, spinning, weaving and finishing.

The young Barbera returned home, armed with knowhow in textile engineering and the inspiration and desire to put a new wave of colour and pattern into the fabrics.

Even at that time Luciano wasn’t planning

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“I would never refer to myself as ‘stylish.’

I simply had on the right clothes for the right occasions and didn’t leave them in a crumpled ball at the foot of my bed. If that is style, alright, I own it.”

LUCIANO BARBERA

to become a designer. Working at his father’s textile mill, all his attention was focused on creating the best quality fabrics. But fate was preparing an unexpected twist for him as his career in the creative arts started to shape up by an accident, rather than by design.

In 1962, a photographer from Vogue, Ugo Mulas, took a photo of Luciano leaning against a fence and gazing at his horse, Edwan. Barbera was posing in a suit made of fabric he had designed. This photo of a young man in a stylish suit was featured in the very first issue of Men’s Vogue and didn’t go unnoticed. Several years later, American fashion icon and founder of a menswear store LuisBoston, Murray Pearlstein knocked at the Carlo Barbera factory doors, asking Luciano to let him purchase his collection in order to sell the line to the American market, only to find out that a young fabric specialist wasn’t producing any clothes.

Pearlstein convinced Luciano to design a collection of clothing modeled on what he wore in the portrait. The line of classic, sophisticated, well-tailored and Savile Rowinspired garments was launched in 1971, setting the benchmark for future Luciano Barbera creations, all carrying his inimitable sense of style.

In a short time the brand gained the reputation for its collections of hand-tailored suits made from the finest raw materials produced inside the Carlo Barbera mill, which also started to supply some of the most renowned brands in the industry, including Armani and Ralph Lauren. The

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quality, signature drape and softness of wool produced in the mill was and is still achieved by a special technique that includes aging the yarn for six-eight months before it is woven in subterranean caverns in order to maintain the fabric’s natural moisture levels.

In the years since inheriting the mill from his father, Luciano established the Barbera brand as the producer of bespoke, Italian style menswear with a distinctive touch of

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British flavour. Only using fabrics produced in the family mill, all collections follow the same philosophy: Creating “clothing for people who believe in individuality and intelligence.”

His supreme attention to detail, colours, shapes and patterns draw inspiration from the nature: “In this world, there can’t be inspiration without nature and style cannot be created exclusively in the labs,” he says.

While the name Barbera is associated

with the great tradition of Italian tailoring passed down from a father to a son, Luciano has always had a passion for trying new things and a “couldn’t care less” attitude to what is accepted by others. The textile mill has often been used as a testing ground for new fabric technologies, including the first electromagnetic super wool that prevents harmful ultraviolet rays from being absorbed through the skin.

The company is determined to never stop evolving by incorporating new materials and staying true to their manufacturing philosophy. This balance between preserving the brand’s heritage and never shying away from bold decisions helped Luciano to overcome the difficult economic period at the end of the last decade.

In order to save the jobs of 83 people working in the factory and be able to restart producing the finest fabrics in the market, Barbera partnered with another

Italian clothing brand, Kiton. The company purchased the Carlo Barbera Mill in 2010, leaving Luciano at the head of the production.

Today the name Luciano Barbera is synonymous with classic Italian style.

He believes that a good tailor must try to become “a doctor of the soul” of a customer and create garments that will emphasise the individuality of its wearer, making him feel comfortable. Luciano is the first to follow this THE TIE “The tie follows the culture. In the 50s I wore a bow tie. In the 60s I tied a Windsor. In the 70s I went open-necked. In the 80s I had a big aggressive knot that said, do not mess with me. Now I find that what I want is a less-fussed-over-knot with a soft pleating. It is simple. It is declarative.

It feels right. How will I wear my tie in the next decade? Who knows?

Ask me then.”

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idea through his manner of dressing.

Luciano’s advice and knowledge of the basic rules of a man’s wardrobe are maxims to men with a connoisseurial eye. His style is sober, classic, modern, and anything but boring: “On the gravest days of winter I put on my grey flannels, a cashmere tie in a sober colour and my white linen jacket. The pants keep me warm. The tie gains me entrée into good restaurants. The blazer reminds me that summer will come again.”

Luciano often defines his style with the word ‘sprezzatura,’ meaning detachment in Italian, but translating as the quiet confidence or low-key style, when people notice you without you struggling to be noticed. He doesn’t follow prescribed dictates of fashion and has respect for his own taste without fearing outside opinion. But Barbera always keeps an eye on ever-changing requirements of the modern society to find the ways of innovating the tradition of quality.

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A M A N A PA R T

A man apart Style is often a reflection of individuality at its most basic, and yet is impacted by a multitude of factors – personal and professional. I sat down with Ferrari Middle East and Africa’s general manager Giulio Zauner, to get his take on what defines his style and came to understand that his sartorial story has a great deal in common with the brand he represents.

TEXT: FRANCESCA FOLEY

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A M A N A PA R T

True personal style is often a journey that represents not only a way of dressing but a way of living. The sartorial cues that come to indicate individuality in appearance become a kind of visual shorthand for those who hold their own taste above trend or fashion. These are the types of people who others emulate, not the other way around. This is certainly the case with Ferrari Middle East’s general manager Giulio Zauner – a man for whom fashion is passé and style is forever.

Sitting with Giulio, it quickly becomes clear that for him, style is a statement of intent – of originality. His own style has been heavily influenced by Italian sartorial modes - perhaps explained by the fact that since the age of fourteen, he has been travelling the world, absorbing pieces of the various cultures as he went. “My family comes from Prussia and when I was young, my father

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would send me travelling through Europe with an empty notebook with the instruction to write about everything that happened to me. After the vacation I returned and had to read my notes to my family. Travelling at a young age and keeping my notes gave me a sense of discipline but with the caveat that I was allowed some self-expression.” Since beginning his career with Ferrari in 1999, Giulio has also been stationed across the world, from San Francisco to London – and now Dubai.

Giulio’s singular way of dressing is not informed by anyone person or style – he treasures his individuality and takes pride in that his wardrobe is never dictated to by current trends. “Being elegant is easy, but to have a true sense of personal style, you have to put yourself into what you wear.” There is also a timeless quality to Giulio’s clothing that also speaks volumes. “Seven years ago

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I bought an orange leather jacket in Italy. I left it behind when I was travelling around, but I dug it out and wore for the first time six months ago and I had a guy stop me to ask where I got it from. I think it’s important that style can still be relevant even after a long time.”

There is a sense of inventiveness in Giulio’s fashion sensibility, which he feels shows a dynamic similarity between himself and the brand that he represents.

As general manager of Ferrari’s Middle East and Africa operation, Giulio stands at the forefront of the company’s two juxtaposed mentalities - bridging the gap between the uniquely storied heritage of the prancing horse which has come to encapsulate Italian joie de vivre at its most essential, and the new world of cultural and technological hegemony which Dubai so acutely represents.

“Ferrari is unique in the automotive world. We have utmost respect for the past, but are not content to simply rest on what has gone before. We want to acknowledge our achievements and heritage but also continue to strive forward within our own brand values. I think my personal style and Ferrari’s match well because we both have innovation in mind but with a respect for heritage”.

Ferrari’s three-tiered bespoke offering is a beautiful representation of this attitude and the personalisation options available give Ferrari owners the ability to work with the engineers in Italy to create a particular style statement all their own. It is a deluxe approach to bespoke automotive modification. “The definition of luxury for me comes down to relationships and trust. We base our history and our future on trust with our clients and our ability to give them what they want. They trust us with their happiness.

Tomorrow you can go onto the Internet and buy anything – there is no luxury in that.

Ferrari is different. We base our business on the quality of our client relations. We want to make sure that the right car is going to the right owner.” The tailor made nature of this service extends to its one-off program also.

“We guarantee – no matter how successful or sought after one of our one-off’s becomes, that it will never be copied. This again shows how dedicated we are to the relationship we have cultivated with our customers”.

“Innovation for me is like a recipe. You change balance of the ingredients and you will get something completely different – the same is true for tailoring. You change something as small as the stitch, and ultimately, your suit will be completely different from anything else.”

G I U L I O Z AU N E R

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A L L T H AT JA Z Z

All that Jazz ONE OF THE GREATEST WRITERS OF THE 20TH CENTURY, F. SCOTT FITZGERALD’S CUTTINGLY SATIRICAL STYLE OF WRITING CHANGED THE FACE OF MODERN AMERICAN LITERATURE.

If ever there were a prize awarded to the greatest American author of the 20th century, surely F. Scott Fitzgerald would be a serious contender. His work encompassed the halcyon days of the American inter-war period and has set the standard to which American fiction is measured, even today.

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Born on the 24th of September 1896, in St. Paul, Minnesota, Francis Scott Key Fitzgerald was a handsome young man with early literary ambition. A distant cousin of Francis Scott Key, author of the American national anthem – the Star-Spangled Banner, his first work was published at the tender age of just thirteen — a detective story printed in the school newspaper. In 1911, when Fitzgerald was fifteen years old, his parents sent him to the Newman School, a prestigious preparatory school in New Jersey, where he met Father Sigourney Fay. Father Fay took note of the young man’s talent with the written word and encouraged him to pursue a literary career.

Attending Princeton University, Francis honed his craft, writing scripts for the university’s famous Triangle Club as well as being a frequent contributor to the university paper and the Nassau Literary Magazine. While his writing talent was flourishing, academically he was floundering and after being placed on academic probation, he left the university to join the army. He did not see active duty, but the fear of being sent to Europe to fight in the First World War pushed the young man into writing his first novel, ‘The Romantic Egotist’. Initially rejected by publishers, the book was reworked and eventually became the semi-autobiographical ‘This Side of Paradise’.

The novel was eventually published in 1920 to glowing reviews and, almost overnight, Fitzgerald became a renowned up and comer in the American literary scene. In 1922, he followed up his best selling debut with ‘The Beautiful and the Damned’, cementing his status as a preeminent commentator and chronicler of the 1920’s culture of extravagance and ambition.

But his greatest masterpiece was, and to this day is, the story of Nick Carraway, a young man from Minnesota, who moved to New York in the summer of 1922, and became involved in the decadent and highly fashionable life of his enigmatic and oh-so-stylish neighbour Jay – a man of romance, mystery and secrets. The book was ‘The Great Gatsby’ and is a keen exposé on the joys and pitfalls of decadence, and the emptiness and grit that often lies underneath the high sheen of the American Dream. Published in 1925, Gatsby is one of the best selling fictional works ever written.

Fitzgerald’s work is typified by a linguistic craftsmanship and a love of the manipulation of the English language. His works are as much poetry as they are prose and his writing encapsulates the spirit of the roaring twenties to the extent that the word “Gatsby” has entered the common vernacular as an adjective for style typified by that era. He captured turn of the century America in its most essential form, with a glint of wit and plenty of charm and as such became an unofficial biographer of the Jazz Age.

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Savoir Faire

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T H E A R T O F T H E T R E N C H C O AT

The art of the trench coat THE TRENCH COAT IS AN ICONIC GARMENT THAT CARRIES ALL THE VINTAGE CHARM OF THE LAST CENTURY.

WITH CONNOTATIONS OF HEROISM AND ELEGANCE, THIS TIMELESS PIECE HAS UNIQUE FLAIR.

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T H E A R T O F T H E T R E N C H C O AT

Thomas Burberry, the founder of the eponymous brand, revolutionised the production of trench coats by inventing Gabardine, a waterproof lightweight fabric made from Egyptian cotton.

Stylish and flattering, there is hardly another item of clothing with a more fascinating history and global appeal than the trench coat. Each detail of this legendary garment has been designed with a specific utility in mind and is the epitome of quintessential practicality. Yet despite its utilitarian charms, the trench has such panache as to render it among the all-time fashion classics.

The coat originated from the war culture of the late 19th and early th 20 centuries, gaining appreciation from military circles first and foremost because of its supreme functionality. After proving itself on the battlefields, eventually the garment won the hearts of civilians thanks not only to its durability and waterproofed quality, but mostly to its classic form and elegant silhouette.

The trench coat’s shape is believed to have come from the design of coachman’s coats worn in the 18th century. However, all distinct details that make a trench truly individual were specifically invented and implemented to suit the harsh conditions of battle in order to keep its wearer dry and mobile even in the pouring rain.

The invention of the waterproof material that wouldn’t feel like rubber and be appropriate for a raincoat is associated with James

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Syme and came from an accidental discovery. In the 1820s, most British middle-class families used gas for their domestic lightning.

Syme realised that the by-product created during the production of gas from coal, called coal-tar naphtha, could be used to dissolve rubber.

Syme found that fabric that was coated with this mixture became waterproof and passed this discovery to a businessman, Charles Macintosh, who in turn used the material for producing waterproof raincoats by applying the product between two layers of cloth.

The production of these innovative garments proved to be a great success. However, the coats had some significant flaws, including the unpleasant odour of the fabric and its incompatibility to the extreme heat or cold. All this resulted in a drastic decline in demand by the late 1830s.

It took more than twenty years and a few technological innovations to breathe new life into the production of the trench coat. The fresh take on once famous outwear was introduced by a tailor and entrepreneur John Emary, who in 1851 opened his shop on Regent Street in London and started selling raincoats under the trademark of Aquascutum, meaning shielding from the water in Latin.

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Originally used as military garments, each detail of the trench coat, from the fastenings and buckles to the buttons, are designed for a specific purpose and with utility in mind, making them the epitome of quintessential practicality.

These raincoats became extremely popular among soldiers and were seen on the battlefields of several wars, including the Crimean War and the American Civil War. However, it was the invention of Gabardine, a tough waterproof, lightweight fabric made of Egyptian cotton yarn instead of wool in 1875 that revolutionised the production of the trench coat. The new material was the brainchild of Thomas Burberry who at that time owned a draper’s shop in Basingstoke, Hampshire under the name of ‘Burberry & Sons.’ Soon Burberry coats featuring Gabardine became more and more popular among explorers and war officers, forcing Aquascutum to surrender its leading position on the front lines.

The competition between Aquascutum and Burberry on the fiercest battlefields of the time influenced the brands’ advertising campaigns. Posters showing English soldiers posing in trench coats became a common sight with Burberry’s Tielocken model with signature strap and a buckle instead of buttons and buttonholes, dominating the market. The coat gained truly legendary status when field marshal Lord Horatio Herbert Kitchener, an inspiration and role-model of many young British soldiers, died in battle,

wearing a Tielocken in 1916.

Later in the 20 th century the trench coat began to lose its military significance with the change of the combat strategies during the Second World War and yet did not leave the public imagination as it was easily transformed into a civilian garment. The popularity of the trench coat was cemented with the help of burgeoning mass culture and the garment began appearing in Hollywood blockbusters.

Featuring in such iconic films as ‘Casablanca,’ ‘The Maltese Falcon’ and ‘Breakfast at Tiffany’s, the coat became a cinematic signifier of romance and mystery.

Today, the word Burberry is often used as a synonym of a trench coat and more than 150 years since the emergence of the first Burberry store, the trench remains the company’s starting point and is the springboard for each new collection. Continuously re-interpreted to reflect the mood and fashion direction of the era, the company still manufactures the coats exclusively in England, using time tested fabric development methods and unmatched sewing techniques.

The methods of production may have been modernised, but the core principles of manufacture remain. The process of making a trench

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IMPORTANT DETAILS OF A TRENCH COAT Epaulettes on the shoulders that give more structured and stronger look to its wearer.

Raglan sleeves which make the garment easier to put on.

Hook and eye clasp, secured with a throatlatch that keep the collar all the way closed.

Sleeve straps on the cuffs that can be tightened when needed.

Deep yoke back saddle, which allows the water roll onto the floor and not down the back of the wearer.

Wedge back that blocks the wind and rain while allowing free movement.

Storm pockets that can be buttoned up from the outside to keep out the rain.

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coat starts with selecting the fabric for the exterior and the lining of the garment. As a rule, waterproof materials, such as heavy cotton, canvas or leather are favoured for the exterior of the coat, however, there is only one choice for those who lean towards the classic style and that is a 100 per cent cotton gabardine invented by Thomas Burberry.

In the mid-20th century, trench coats used to be lined in plain colours, but today, Burberry’s signature checked lining has become the trademark addition. Burberry offers six types of checks all in different sizes. Among modern checked linings, the most popular pattern is the classic house check, featuring tan, black, white and red tartan. Traditional colours for the exterior of the trench coat are khaki, navy blue and black, but modern designs allow customers to go for something bolder, like burgundy red or forest green.

The second is to decide on its style. While the overall look of the trench is quite distinct, there still are a few stylish variations on the theme, the first being the coat’s length. The most traditional length is at or around the

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The style of the buttons fitted to each coat, be they vintage wooden pieces or more modern metallic ones, largely define the overall character of the garment by adding a subtle and individual flair.

knee, but a full-length trench coat ending at the ankles is also an option.

One can also choose between double-breasted and singlebreasted styles. The double-breasted design adds a more Bogartesque classicism to the outfit, while the single-breasted cut, mostly known as Macintosh after its famous inventor, makes its wearer look slimmer and taller.

Another essential feature of the trench coat is the belt, which helps to break up the torso and accentuate the shoulders, creating an elegant silhouette. Traditional belts had five rows of stitching together with D rings that was used to suspend military weapons, including grenades or even swords. In modern designs, the material of the belt as a rule matches the one of the coat and choosing the different fabric for the belt is still seen as a bold experiment.

All trench coats feature ten double buttons on the front. The style of the buttons may vary between vintage wooden pieces and more modern metallic ones, defining the overall character of the garment.

Once all details of the trench coat are finalised, the process of sewing begins. The pattern of the coat is placed on the fabric and is secured with straight pins, so that the amount of space between the pattern pieces is reduced to a minimum. The lines of the pattern are

cut along with scissors with approximately five inches of space left on either side of the line for the seams. The pieces of the fabric are then connected with straight pins and sewn together with a straight stitch on a sewing machine.

The lining is sewn as a separate coat and is then stitched to the outer coat along the major seam lines – the two side seams, the back seam and the front seam. Finally, the buttons, belt loops and other important details are attached to the coat.

Trench coats are suitable for cool temperatures during spring or fall, providing a shield against the elements. They can be fitted with a removable wool lining to help shield the wearer from those chillier days, but it must be said that it is not really appropriate protection from arctic vortices or bitter winds.

They represent outerwear with attitude and can be worn in a number of ways to convey specific ideas. The coat can be worn either with the buttons closed and cinched at the waist with a belt, or open to reveal the rest of the outfit, with the belt fastened at the back. The sleeve of the coat must always cover the shirt cuff, reaching the root of the thumb of its wearer. Modern trench coats are appropriate with both casual and smart outfits and, due to their versatile nature and extremely light weight, are considered to be ideal travel companion.

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THE WELL-GROOMED MAN

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The well-groomed man Performing a few simple procedures during morning ablutions can have a subtle impacts on your overall appearance, be it the method one washes the face or how one takes a razor to skin.

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A word emerged into the modern vernacular some ten years ago that came to describe the well-maintained gentleman.

Metrosexual – the man about town who doesn’t shy away from a manicure, who isn’t frightened of a facial, who visits the barber not because his hair is too long, but because it must be kept short. Men like the ubiquitous David Beckham became the 21st century’s answer to the 1980s “new man”. But over time, the term metrosexual became synonymous with words like effete and feminine – manly men would not; nay, should not entertain the idea of ritualised self-maintenance. But times, as they so often do, have changed and metrosexuality has been co-opted into the norm. It is hardly odd these days for men from all walks of life to be seen making an effort in their appearance. However, there are elements to male grooming that still elude and simple procedures that are often recommended by professionals, that people either ignore or remain ill educated about.

Thanks to a resurgence in grooming culture, “Dapper Dans” everywhere are brushing up on their knowledge and visiting said professionals to help meet these modern requirements. One such company that is taking the typical short-back and sides barbershop approach back to basics for the modern man is Murdock – a London based barber that not only does a damn fine shave, but helps its customers get a grip on their entire maintenance needs.

Opened by Brendan Murdock in 2006, the traditional barbershop’s first branch on London’s Old Street was designed to be a safe haven for male grooming. The shop focuses on all aspects of sprucing up, offering wet shaves and smart haircuts performed by excellent and skilled in-house barbers and stylists, as well as manicures and facials.

Men can expect a full-service pampering inside a Murdock store - and in some cases even outside. Murdock also offers a mobile service where its experts can be hired out for events and also a personalised one-toone service outside the store for special occasions like weddings. But perhaps their most important service is the tutorials in how to best maintain a polished level of personal care. Within the lesson, Murdock’s master barbers give detailed instruction on the art and science of wet shaving as well as offering

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a personal consultation on the best methods and products to use when wet shaving at home. If however you cannot get to London and want a few handy hints on how best to perform a straight shave, here are some of the things you must do to get the best out of shaving at home.

shower. The steam from the shower will open the pores and moisturise the skin and hair. Holding a hot towel against the face to prepare your hair for the next step is also an option. If you opt for the hot towel, hold it firmly against your face until it is cool. For best results, apply the hot towel twice.

PREPARE As you would prepare the hair on your head with a damn good shampoo and condition before hitting the town, so too should you prepare the hair on your face before applying steel to skin. Begin by exfoliating and cleansing the face and taking a hot

TEMPERATURE Once the prep work has been completed, it’s time to prepare your brush. Turn your tap to the hottest temperature possible and fill your shaving mug or bowl, allowing your brush to steep in the water for at least five minutes. There are several types of brush

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D.R. Harris has the quaint charm of a traditional British chemist and offers a wide variety of premium grooming products.

available, such as badger hair, boar bristle, and synthetics, but badger hair is widely considered to be the best because of its natural water absorbing properties. This part is often overlooked and yet of vital importance. Soaking helps avoid damage to your brush, and secondly creates a richer more protective lather – the next step.

LATHER Once soaked, squeeze out the excess water from your brush. Dispense with the water in the mug, and using your shaving soap, make a soft lather with the brush in the bowl. For the best results, it is important that the lather

is thick - a thin one will not be as lubricating or moisturising, resulting in a poor quality of shave and increasing the chance of nicking.

If you’re using a bar of shaving soap, put the cake at the bottom of the now empty mug and add a little fresh hot water. Agitate the bar thoroughly with the brush, using a combined stirring and churning motion until a thick lather appears. The more you rub the brush on the bar, the thicker the lather. If you are using a cream instead of a soap bar, a dirham size dollop should suffice.

APPLICATION Wet your face with warm water right before

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you apply the lather to your face. Then use the brush to apply the soap or cream to the hair, swirling until the lather has formed stiff peaks. Ensure that lather gets up under every single whisker. When you’ve covered your face completely, take a few strokes to even everything out. Let it sit on the face for five minutes, or longer if hair is very coarse.

Re-lather if the soap has dried out after five minutes has passed.

BEGIN If you are using a safety razor, moisten the blade in hot water. Apply the razor to the face in the direction the hair grows – but be careful

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not to apply too much pressure. Rinse the blade between strokes. Take one good run at each area of skin and avoid going over already shaved parts unless it is really necessary. If however you are entertaining the dark art of the straight razor shave then take note – this is not for the feint of heart. Damage can be done, so follow these steps carefully.

Pull the area to which you will apply the razor until it is tight. Use a twenty-degree angle of the blade and remember not to use a slicing action but rather go with the grain of the hair growth. You are trying to cut the hair as close to your skin as you can but don’t want to lose any along the way. Use hardly any pressure and begin with slow, even strokes and shave in the direction of your beard growth.

The method is key here – don’t rush and have a routine, it will help to give you some structure and prevent any dangerous blade action.

RINSE Once the shave is complete, rinse the lather off your face with cold water. Cold water will help close the pores in your skin and is a refreshing

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way to end a shave. Pat your face dry with a cool, clean towel to finish the process.

MAINTAIN Post shave, it is important to maintain your tools. Dry the razor by running a square of toilet paper over the blades. If you are using a straight razor, the blade should be stropped.

Stropping after your shave removes any moisture left on the fine cutting edge that could cause rust or corrosion. To strop a razor, move the straight razor’s edge forward and back against a razor strop - about 4060 times on a leather strop before the shave and about 10-15 laps on a linen strop after the shave. After stropping, apply blade oil to protect the blade from moisture damage and rust. Rinse the brush, shake out the excess moisture, and hang it upside-down in a brush holder to dry.

Now that you have the skills and knowhow of where to get a good shave and how to do one at home, you are well on your way to a grooming epiphany, but what use is information of how to execute the perfect shave without the appropriate tools with which

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to put into practice said knowledge. In terms of heritage there is no more appropriate place from which to gather the equipment for your shaving arsenal than at D. R. Harris - London’s answer to the grooming atelier. Founded as an apothecary in 1790 in the fashionable St. James’s quarter of London, from their earliest days they became known for their lavender waters and classic colognes, but today still offer a wide variety of accessories to keep gentlemen constantly well equipped.

D. R. Harris have held Royal Warrants since 1938 and are currently royally appointed to Her Majesty Queen Elizabeth and His Royal Highness the Prince of Wales as pharmacists and have become famed for their expertise, premium service and specialist, luxury grooming products, soaps and colognes.

From their two shops in Mayfair and St James’s, D. R. Harris provide knowledgeable and tailored advice to all customers on matters ranging from the perfect shave to the best type of shampoo for the individual’s lifestyle. The blend of old-fashioned service and high-quality products make this establishment well worth a visit for all your grooming needs.

TRICKS OF THE TRADE WHILE THE BIG NAMES IN THE WORLD OF FASHION SHOW THEIR NEW COLLECTIONS DURING MILAN FASHION WEEK, WE TAKE A JOURNEY THROUGH SOME OF THE BEST ATELIERS IN THE MILANESE BESPOKE TAILORING SCENE.

In Milan, the best tailor’s shops are like the most beautiful gardens of the city - all hidden to passers-by. Only inside the courtyards of the 19th century apartment buildings do they reveal their beauty and elegance. The master tailors of the city receive their clients inside their ateliers in a reserved manner since elegance is a matter of good taste and moderation.

These ateliers offer today’s gentleman a priceless guide on craftsmanship, tradition and innovation of the true spirit of ‘made in Italy’ - a unique experience rather than a purchase. There is no more stylish way to fill your bespoke wardrobe according to the needs of a modern man.

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“A man who desires timeless elegance and demands individuality, and who appreciates the excellence and aesthetics of the handmade, can’t go for anything but a bespoke suit” ANDREA DILET TO

SARTORIA DILETTO Andrea Diletto embodies a new generation of tailors in Milan. Young and determined, he was trained by Caraceni, the famous Milanese tailor, opening his own firm in 2011.

His approach is completely innovative, and quintessentially bespoke with suits crafted based on the personality and the style of the wearer. The service is exceptional and the innovations of the sartorial techniques remarkable, especially considering the fact

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that the average age of his collaborators is below 35 years. If you are lucky enough to be accepted onto his already vast ‘waiting list’ – one hundred hours are required to make a suit and there is a minimum waiting time of three months – you will be privy to a unique and captivating experience. To meet one of the most talented tailors in Italy and own a suit for a lifetime is a great privilege. But let us have Andrea Diletto himself tell us with his own words what makes his atelier so magical.

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What is the philosophy and what are the values of your tailor’s house?

When I decided to open my tailor’s house I had a very clear vision. Working in one of the world’s most historical trades I wanted to conduct the values of tradition but with a fresh mentality. The tailors who work with me are all young, and I want them to grow within the tailor’s atelier to form a new sartorial generation. Everyone makes their contribution, like in a modern company, with the aim to find new solutions and innovations. I believe that this work in the past years has brought us to improve the men’s suit – we have rendered it more artisanal and the most personal way possible. The values I promote in my work are truth and transparency with my collaborators and with my clients.

How do you manage to make your service exclusive?

By rendering tailoring even more bespoke,

Andrea Diletto is taking up the charge for a new generation of Milanese tailors. Using quinessential bespoke methods and innovating for the 21st century, his service is as thorough as the most established names in bespoke tailoring and belies his young age.

in every sense, starting from the suit. The client has to have a unique experience, in which a certain relationship of respect and confidence is established, just as the suit he will wear. To achieve this result I have to understand completely who I have in front of me. That’s why during the first encounter we don’t immediately start choosing the fabrics, but start off by having a glass of wine and catering.

If, for instance, I have a cheerful client who manages 5000 employees then the suit has to be formal but at the same time have details reflecting his personality.

It’s consultation before we start creating.

After that the measurements are taken, I take 33 different measurements, to have a profound analysis of the anatomy

of the person. Often there are small disproportions, not visible to the untrained eye, but that influence the construction of a suit. For the following fittings I can come wherever it suits my clients. Who travels for work often prefers being with the family in the free time. That’s why I come wherever my clients want to follow the different fittings of the suit.

Which sartorial techniques distinguish your atelier?

The jacket, first and foremost, before being stylish, has to hide the defects of one’s body, respect certain proportions and be comfortable. The sartorial techniques are many and are difficult to realise. The most important part of a jacket is the shoulder. Our

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shoulders require one day of work. They are treated as if they were a saddle, sewn giving them like a curve which from the neck arrives at the end of the shoulder. The shoulder pads as well follow the same procedure, but all of this isn’t visible from the exterior. Another important detail is the armhole which has to be fitted under the arm so that the jacket doesn’t move in the front, only the arms should move.

All of this requires a strong mastery in the sewing to make sure no discomfort is created for who will wear the suit. Lastly, the trousers which we make fitted with a special belt in the inside to make sure the shirts don’t slip out.

Additionally, the pleats have also a function thanks to a particular construction that we built in the inside that prevent the pants to widen when one bends.

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PRATA & MASTRALE When a Milanese ex-manager decides to follow his passion for menswear apparel and opens his own tailor’s shop, the results were sure to be remarkable. Elegance is “a form of culture and respect for your kin”, says Aldo Invitti di Conca, who has several aristocratic titles. Up until some years ago he was a manager for his family business in the pharmaceutical industry and then founded his dressmaker shop Prata & Mastrale in 2011. We met him at his atelier in the heart of Milan, in Via Fatebenefratelli - a place which breathes the real Milanese elegance through a complete service of stylistic consultation, from the suits to the knitwear - everything is bespoke.

“There are days, in which nothing significant happens.

But a particularly elegant suit can render all your actions and movements in that day noble, turning them into something to remember because of what you wear.”

Why did you decide to open your tailor’s shop?

Prata & Mastrale is the result of my strong passion for bespoke and my stylistic knowledge and then my determination to follow it through. That’s how I gathered trusted tailors, the master dress cutter Cristiano Zamboni and I formed a team of six people with a small workshop at Novara, close to Milan. Every single client of mine is guided to find their own personal style and to re-discover the fun and joys of elegance and the artisanal tradition.

What different and unique services does Prata & Mastrale offer?

We offer a range of services to meet the different needs of our clients. The highest is a pure bespoke service consisting in three fittings. Another service we offer is what I call ‘sartorial’ and which allows us to cut time and costs and at the same time maintain very high quality standards. Our customer tries pre-crafted models on which his fit and his choice of look are registered.

In this way we can cut the fabric, sew it and present it to the client half-finished on the second fitting. Further, we offer a semi-sartorial service in which we obtain a made-to-measure, high quality suit, machine sewn and finished off by hand, in a single fitting.

Which is your favourite sartorial style?

The classic patterns which derive from the construction of classical design in the thirties. The waistline of the jackets and the

width of the legs come from the construction I consider to be the climax of modern men’s fashion. There have been changes but it always revolves around this.

(a water proof felted fabric that has origins in medieval age in the casentino area in Tuscany) makes you re-experience a certain type of coat.

Which stylistic research do you conduct in your atelier?

I do a great amount of research on fabrics, especially on English tweed. Rediscovering fabrics makes you also rediscover certain models. With tweed, for instance, you can create the Norfolk jacket – a beautiful jacket for your free-time with applied pockets and a small back belt. Or the ‘panno casentino’

What is your advice for men’s suits?

For a double-breasted jacket I suggest flannel with a hint of pinstripes. Or a four button hopsack with two vents and applied pockets which can also be worn with jeans. With a seersucker fabric I would make a two button jacket completely unstructured. The most important thing is that every suit makes you feel comfortable and at ease in your own skin.

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“A stylish man doesn’t have to be trendy. He doesn’t care about trends, he gets noticed for his own uniqueness and elegance. That’s why we decided to make 100 per cent italian high quality shoes with no compromise.”

Barbanera takes inspiriation from trend setters and illustrious personalities and names their shoes accordingly. Above is the Jerry Lee, inspired by Jerry Lee Lewis but the range also has shoes named for Miles Davis, Jack Kerouac and Joris Karl Huysmans to name a few.

BARBANERA SHOES Launched in 2011 with the foreword “An elegant man with ugly shoes, after all isn’t anything but a man with ugly shoes” Barbanera, which means blackbeard like the legendary English pirate, has come to be recognised as a producer of shoes that combine elegance, tradition and a bohemian spirit.

The same style represents the founders — two pairs of brothers, Sebastiano and Sergio Guardì and Filippo and Alessandro Pagliacci. “Making shoes was not part of our family tradition” - explains Sergio Guardì, an ex musician in a rock band - “but my brother and I are from a family in which art, tradition and style were ever-present. My father was an artist and a great collector of antiques and this has influenced our choices and our taste.”

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The style is inspired by famous top English brands like Edward Green and John Lobb, with a twist. The ‘Gatsby’, for instance, is the spectator shoe constructed from two contrasting colours and dedicated to the well-known F. Scott Fitzgerald novel, ‘The Great Gatsby’, quite popular in these days. Other models include oxfords, boots and loafers that get their names from jazz musicians like Chet Baker and Miles Davis, artists like John Ruskin and writers like Ernest Hemingway and Joris Karl Huysmans. They even have an oxford dedicated to Lord Brummel, considered to be the first British dandy. Their conviction is that true style defies trends and revolutions and this is why the aim of Barbanera is to create timeless and top quality shoes, which

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underline Italian craftsmanship. Barnabera shoes are hand-crafted in the middle of the Tuscan hills – an area of a long and renowned tradition of shoemakers, using the best leathers of the top tanneries of Italy and a Goodyear welted construction.

Invented in 1839 by Charles Goodyear, the father of English shoes, today it is still synonymous with fine footwear because only highly skilled craftsmanship makes it possible. But the result is guaranteed: the shoes are stronger, last longer and ensure a natural ventilation of the sole. Additionally, every shoe is highly customised in the order phase. The client can choose the preferred colour and material combination as well as the different types of glassage adapting the shoes to his personal style.

From left to right: Sebastiano Guardì, Alessandro Pagliacci and Sergio Guardì

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Crystal clear FEW MANUFACTURED SUBSTANCES HAVE THE ABILITY TO CAPTIVATE AND ENCHANT IN THE FASHION THAT GLASS HAS FOR MILLENNIA. ITS ARTISTIC AND PRACTICAL QUALITIES HAVE MADE IT THE PERFECT MEDIUM FOR MASTER CRAFTSMEN TO CREATE BOTH FUNCTIONAL AND DECORATIVE MASTERPIECES.

Glass has played a part in human civilisation for thousands of years. Even before men learnt to make it, evidence of its use has been documented in the form of glass tipped spears made using obsidian – a naturally occurring igneous rock with a black, glassy appearance. Archaeological evidence suggests that around 1500BC, the first hollow glass container was made by covering a sand core with a layer of molten glass.

The fundamentals of its production have not changed a great deal since this time. The process starts with heating silica in form of sand to extreme temperatures of around 1700° Celsius, which causes the silica to melt. By melting in various other substances, such as sodium carbonate, lime oxide, lead, boron and other additives, different types and colours of glass can be made.

What is less known, is that glass itself is not actually a solid.

Chemically speaking, it is actually more like a liquid, but at room temperature it is so viscous or sticky, it looks and feels like a solid. At higher temperatures glass gradually becomes softer and more like a liquid. It is this latter property that allows glass to be poured, blown, pressed and moulded into such a variety of shapes.

The most commonly used type of glass is called

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commercial or soda-lime glass, as soda ash is used in its manufacture.

Most glass of this type is seen in the form of day-to-day, household objects that surround us, ranging from windows, bottles and drinking glasses, but it also has a creative application in the form of stained glass for windows. Traditionally, small pieces of colourful stained glass were used to create various patterns and pictures in windows of churches and cathedrals.

Decorative glass objects are made from lead crystal or lead glass.

Invented in the 17th century by Englishman George Ravenscroft, the method requires the addition of lead oxide in quantities of between ten per cent and thirty per cent in the melting of the silica. Adding the lead oxide improved the appearance of the glass and made it easier to melt. It also increased ‘working period,’ making the glass easier to manipulate. Lead glass has a relatively soft surface that is easy to decorate through grinding, cutting and engraving, while its high refractive index is responsible for the bright sparkle and shine. The final stage of the manufacturing process sees the lead glass polished by dipping it into a mixture of sulphuric and hydrofluoric acids, which removes any imperfections on the surface of the object. However, it is a risky procedure as leaving the glass submerged a moment too long can cause irreversible damage.

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Breathing new life TRADITIONAL GLASSBLOWING IS PERFORMED WITHOUT THE HELP OF TECHNOLOGY OR MACHINERY. THE PROCESS INSTEAD USES A SIMPLE METAL BLOWPIPE - A TOOL THAT MAKES IT POSSIBLE TO INFLATE GLASS INTO A BUBBLE AND THEN MOULD IT INTO THE DESIRED SHAPE. Today glass making is a modern, high-tech industry with fully automated machines capable of making millions of glass products each day, but for those who see glassmaking as a craft rather than as an exercise in mass production, the traditional mouth blowing technique remains unrivalled. Glassmakers, also known as glassblowers or gaffers, are considered to be true artisans armed with unmatched skills and their ultimate tool for creating bespoke glass pieces is a blowpipe – a long and hollow stainless steel tube.

The main factor that enables a mass of glass transform into an article of beauty is its property called ‘variable viscosity,’ meaning that glass does not have the specific melting or freezing point. Instead, with raising the temperature, it is gradually changed from a stiff solid to a liquid mass, allowing gaffers to manipulate it into a variety of shapes and forms.

The process of creating a glass object starts with gathering. The end of the hollow blowpipe is dipped into the molten glass in the furnace and turned to wrap the glass onto the pipe. The pipe must be rotated constantly to stop the glass gather falling from the end. A

glassmaker works with the flow of the glass and uses gravity to centre and shape the piece.

After making the first gather, the blowing process starts. To make the bubble, the glass has to cool down and become manageable. The glass begins to cool where it has made contact with the pipe. This is where the bubble must start, expanding quickly toward the end of the gather.

To make sure that the bubble doesn’t become too thin, the craftsman must control the strength with which he blows the end of the pipe. This is achieved by trapping the pressure with a thumb over the mouthpiece and holding the pipe so that the expanding bubble can be watched. The pressure is then released and a bubble, also known as a parison, is formed. The parison has to be further manipulated as it is elongated, re-heated and re-blown in order to bring it into a shape that resembles the final article.

Before removing the glass from the blowpipe, the gaffer starts cutting it or creating score lines with large tongs known as jacks. At that point the piece is ready to be transferred from the blowpipe to another rod called a punty to undergo the final stages of production.

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S T R AT UM

The glass island THERE IS NO OTHER GLASSWARE THAT BOASTS THE RICH HISTORY AND ARTISTIC VALUE OF MURANO GLASS. THE BIRTHPLACE OF LEGENDARY COLLECTIBLES, MURANO ISLAND CONTINUES TO BREED NEW GENERATIONS OF SKILLED GLASSMAKERS.

The term ‘Murano Glass’ not only refers to glass produced on the island of Murano, located within the boarders of the city of Venice, but is indicative of high standards in fine glassware.

The beginning of the Murano tradition dates back to the 10th century when Domenico Fiolarious, a glassblower who lived and worked on Murano, in what was then the Republic of Venice, established a small glassworks on the island. From there Venetian glass became well established as some of the best available. Murano’s specific heritage at the pinnacle of quality glassware was cemented in the 13th century with the forced removal of glass makers from the city of Venice to the island. At that time, the structures within Venice were predominately made of wood and the furnaces used to make glass were considered too much of a fire risk not to keep contained should a blaze break out.

Putting all of Venice’s best glassmakers together in one space created an ideal environment in which to perfect the craft and share knowledge. Subsequently Murano glass artists became renowned for their skills and unique knowhow in the creation of delicate and elaborate objects of practical and artistic excellence and it is a tradition that remains to this day.

The artisans of Murano continue to make objects d’art using the

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same centuries-old skills and many of the tools passed down from the Middle Ages. True Murano glass is always an article of beauty with vivid colours and distinctive patterns and shapes. The most illustrious glass factories that produce bespoke Murano glass collections today are Seguso, Barovier & Toso, Mazzega, Venini, Pauly, and Ferro Lazzarim.

The island attracts tourists with its streets packed with boutiques that sell glassware of all forms, sizes and colours. Those who want to take a closer look at the history and tradition of Murano glassmaking, can visit the Museo Vetrario, a museum located in the Palazzo Giustinian, near the island’s centre. The museum offers a century-bycentury tour on Venetian glassmaking and houses excellent examples of both historical and modern glassware.

Murano glass has gained more and more appreciation among collectors in the past few decades, and consequently, counterfeit replicates of Murano glass created outside the island have become prevalent. With fakes getting better and harder to spot, simply buying glassware in Murano no longer serves as a guarantee of quality. A certificate of authenticity should always accompany contemporary Murano glass. To avoid buying replica Murano glass, one should look for the “Vetro Murano Artistico” trademark decal in shop windows.

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WELL HEELED BRITISH SHOEMAKING HAS AN ILLUSTRIOUS HERITAGE AND JOHN LOBB REMAINS AT THE VERY PINNACLE OF THE INDUSTRY, NOT ONLY IN THE UK, BUT WORLDWIDE. FROM ITS READY-TO-WEAR RANGES TO ITS CUSTOMISED BESPOKE SERVICE, THE BRAND IS GROWING AND STRENGTHENING IN BOTH NAME AND IN DEED.

When it comes to acquiring a pair of shoes that are designed to last, there are few names more highly valued than John Lobb. In fact, the British boot maker is regarded in the highest esteem as one of the most well-heeled names in cordwaining, attracting the great and the good to its stellar and highly traditional brand of shoemaking since 1866. The company, founded by the man whose name still proudly hangs above the door, has stood the test of time and remained a steadfast, fixed point in the British shoemaking tradition while producing goods of genuine quality and craftsmanship imbued with total integrity. Each Lobb shoe, be it an oxford, derby, loafer, buckle or boot, offers a slice of brand heritage and a sense that formal shoe perfection has been attained and cherished - the epitome of Anglo style, captured in soft and supple leathers and in a spectrum of finishes.

Appreciation for John Lobb stretches to the highest echelons of society. The company was awarded its first Royal warrant from King Edward VII (at that time the Prince of Wales) and it has been

retained over the years. Today the firm is the boot maker to The Duke of Edinburgh, Prince Phillip and the current Prince of Wales, Prince Charles. But while the brand is steeped in history and tradition, it is moving with the times, expanding and growing in new and exciting directions. Its St James flagship store has remained the anchor to the business, but its growth in recent years has led to John Lobb becoming an unlikely new kid on the block, joining other illustrious brands in the home of the British shoe tradition – Northampton, where its own prêtà-porter line is manufactured and also where its proprietary holder Hermès has its shoes made.

The larger scale production has not however denuded the brand of the time and technique that go into each pair - rather it has served to expand the John Lobb fan base to a new and highly discerning clientele. The creation of a ‘ready-to-wear’ John Lobb shoe is not to say that the quality and skill involved in the shoemaking process has been diluted.

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WELL HEELED

The full-grain leather which makes up a Lobb shoe begins its journey in what is known as the clicking room where the various sections of each piece are cut by hand. From there the pieces will pass through the prep room, where the highly skilled hand-sewing process takes place and decorative patterns may be punched into the toe, and then on to the closing room, where the various elements of the upper are brought together. The completed upper is then transferred to the assembly and lasting room, where the shoe begins to take its shape on the last, before heading into the making room where the signature Goodyear stitching process imbues the shoes with their Northamptonmade durability. Only after this can the shoes proceed to the finishing room, where many of the finer artisanal elements are added before the finishing touches are applied in the shoe room.

This procedure sounds simple enough, but in reality, the John Lobb assembly line undertakes 190 separate steps to create a single pair of shoes and every piece of the shoe is handled by specifically skilled craftsmen and women — people who have been trained in their own highly individual and specific methods. These techniques have been passed down through the generations and are inspired by the traditional bespoke bootmaking skills. From last-maker, pattern-cutter, laster, closer, polisher or tree-maker; each step in the manufacturing process constitutes a true vocation, craftsmanship defined by attention to detail, in which every process is of vital importance to the finish article.

It’s a journey that takes some weeks and many man-hours of

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painstaking labour, but the result is a pair of the finest men’s shoes – beautifully crafted, quintessentially British, unmistakably John Lobb.

However, it has to be said, that to own a true pair of John Lobb’s is to dive headlong into the exquisite and beautifully crafted world of its bespoke service. A tailor made John Lobb shoe is a one-of-a-kind piece of fashion art unlike any other – a seamless representation of elegance in leather.

Lobb’s bespoke atelier is, somewhat unusually for a quintessentially British brand, situated in Paris. It is here, locked in the basement, that Lobb keeps its archives and where each customer’s last will forever keep illustrious company. The precise measurements of John Lobb’s most illustrious clients of the 20th century are all kept here. Fans of the brand have famously covered the entire gamut of high-end society from Lords and Knights to celebrities and grand fromages across the globe, from Sinatra to George Bernard Shaw, Churchill to Hitchcock and their lasts can still be found in storage.

But first timers to John Lobb’s processes must however brace themselves, for bespoke shoe-making is a colossal undertaking for both client and atelier. The bespoke arm of the firm produces a mere 500 pairs of their beautiful and sought-after designs per annum and it is a time consuming, painstaking process which is never rushed. Order in spring, and you can expect to take delivery come winter. Sartorial perfection demands time. The first step in the bespoke process is to choose the medium from which the Lobb craftsmen will perform their specific brand of artistry.

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The bespoke arm of the firm only produces a mere 500 pairs of their beautiful and sought-after designs per annum and it is a time consuming, painstaking process which is never rushed.

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WELL HEELED

“To tell the truth, it is impossible to define the John Lobb style. The lines, the arch, the proportions merge into a balance so rarely found that it seems to come from a mysterious equation, between the pleasure of the eye and the comfort of the foot, between the model that gets you dreaming and the one that gets you walking, between desire and need. It is this equation that we call elegance.”

G .W. D I C K I N S O N - M A S T E R B O O T M A K E R A N D F I R S T P O S T - WA R G E N E R A L MANAG E R OF J OH N LOB B.

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John Lobb takes pride in using only the most exceptional materials.

The choice of leathers is an essential step, as only full-grain leathers are worthy. These leathers are handled exceptionally delicately and the surface of the skin must display the beauty of its natural grain. It must not show even the slightest perceptible flaw, which can be as small as the blemish left on the skin by an insect bite. Other requisite qualities include specific thicknesses, perfect suppleness and depth of tonality as rich, intoxicating shades are often selected with spectrums of burgundy, chestnut and chocolate being firm customer favourites. However, clients can request more exotic hides, such as alligator or ostrich, to be made into one of the eighty available styles in the bespoke range. There is one-off touches to be added along the way also with personalised monograms, embroidery optional extras.

Once the shape, height of the heel, sole and choice of leather have been agreed on, the customer is taken through a rigorous measuring process translated into a three dimensional last which, like those illustrious former customers, will remain in the Lobb archives and from which any future shoes can be made. Once the accurate foot measurements have been committed to beech wood, the leather can be cut and shaped. When doing this, the craftsmen take into consideration not only the shoe-size, but also the customer’s vital statistics of height and weight – both of which have an impact on how shoes fit. Once cut, the pieces are sewn together, creating the shoe’s upper. At this stage any details that the shoes require, such as finepunched toe caps in a pair of oxfords, or the delicately stitched apron on a suede moccasin, are added by hand using tools that have not changed since the earliest days of the company.

Exceptional care is taken in the entire fabrication process – from leather selection and assembly techniques to the final finishing process, every collection adopts the brand’s signature craftsmanship.

Upon being called back for the first fitting, the shoe is altered from its mock-up shape, allowing the designers and makers to have absolute control and precision over the final outcome. No shoe leaves John Lobb without the say-so of the atelier. Anything short of absolute perfection simply will not do. After the second round of measuring and fitting, the final shoe is assembled and fitted with Lobb’s signature – its intricate sole. Handmade using traditional welting techniques developed in England. Several thin layers covering the sturdy full-grain leather insole hide any trace of a seam. Precisely modelled on the customer’s last, the soles take on the exact shape of each foot, creating the pronounced bevelled waist that makes Lobb footwear unmistakable.

Once assembled, the customer is summoned back for the third and final fitting. This is the final act in the client’s three part saga and from here patrons can take delivery of their shoes, safe in the knowledge that they will never go out of style and that, with the correct care, their shoes will last through decades of use. Bespoke Lobb’s are investment pieces that are worthy of this attention to detail and certainly of their price tag. Owning a pair of John Lobb’s is like joining a member’s only establishment, it is a legacy and a privilege that few will experience and fewer still can truly appreciate. The artistry of Lobb’s connoisseur cordwainers and their decades of skill are constantly on show from stitch to perfect stitch, and owners can revel in the classicism and effortless style these pieces bring each time they are slipped on and laced up.

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SignĂŠ Selection

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S H O O T I N G C O M PA N I O N

Shooting Companion

The height of civility, this beautifully crafted drinks caddy made by furniture and home accessory firm

Linley is the perfect piece for the avid marksman and his guests.

Attending a shoot can, on occasion, be a chilly affair. What better way to warm up a bit than to have a “wee dram” to get the blood flowing, and this portable drinks case from Linley, designed specifically to be taken out to the country, fits this brief expertly. Made from oiled walnut and sporting sturdy leather straps on either side for easy transportation, the case offers a beautiful bespoke touch to any outdoor occasion. It also features an engravable sterling silver plaque on the lid for additional personalisation.

While it is ostensibly beautiful accessory, practicality is of the utmost importance and the companion’s corners have been fitted with nickel brackets to ensure rigidity and prevent any unwanted dings on a bumpy car journey.

The interior of the piece contains a walnut rack, which houses eight pewter cups that can be removed in order to distribute them.

The pewter vessels are conveniently engraved with the numbers from one to eight, referencing pegs or positions in the line at the start of the day, helping to avoid confusion and make sure each guest keeps his own cup. Also included are two etched, lead crystal decanters.

These again feature engravable silver hallmarked plaques, this time set in their rosewood stoppers. Finally, a walnut compartment sits in the centre, designed to hold eight Corona No. 5 cigars with an inbuilt cigar cutter. These sit compactly between the decanters and the pewter cups as the finishing touch to this sporting ensemble. The piece comes in a matte or gloss finishes.

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SHOOTING ETIQUETTE FROM JAMES PURDEY & SONS “You may well be offered a glass of sloe gin on arrival, perhaps another mid morning, and possibly beer or wine over lunch. You will know your own limits, though few shots find their aim truly improves after having a drink.”

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M I L A N E S E FA S H I O N P I C K S

ETRO

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Milanese

FASHION PICKS The A/W 14 collections seen at Milan Fashion Week

showed that dapper menswear styles are continuing to evolve in new and exciting directions, with sharp boxy cuts, plaid fabrics and relaxed earthy tones showing strongly.

SEAMLESS CO-ORDINATION Etro turned to a neutral palette this season with warm camel and saffron tones taking the fore alongside inky blues, deep purples and hints of soft grey. The sharp tailored silhouette was a divergence from the more boxy looks of other Italian brands with classical suiting and outerwear leading the charge. The double breasted coat was a key piece and cleverly worked in subtle checks and plaids. Signature layers were eschewed and there was a “matchy matchy” element to the designs which gave a strong voice to the fabric choices that included a range of traditional plaids and checks from simple Tattersall and windowpane checks to Glen plaids and classic tartans within the aforementioned colour scheme. These patterns were teamed with jacquard shirting and soft brushed marled knits.

Etro’s signature paisley print was also worked into the collection in smaller details such as suit lining and pocket squares as well as in shirting teamed with tartan pants or as crisp fit-and-flare coat shapes.

The models’ feet were resplendent in traditional oxfords with checked inserts to complete the classic aesthetic.

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EXPANDED OFFERINGS Italian style found another home on the catwalk among the pieces shown by Tod’s. Expanding its product offering, Milan represented the first time that the brand had shown a full collection for menswear.

Of the sixteen ready-to-wear looks showcased key items were the range of jackets from the Passport line, made unsurprisingly from calf, velvet suede and nubuck suede. The designs were technical and cut in sharp, neat lines. Linings for these pieces are removable too, should that be the wearer’s wish. There were also examples of a more relaxed approach with hooded jackets black peak-lapel double breasted coats and grey windowpane check suits. But this being a Tod’s collection, of course accessories were also on fine form. A new bag on show called the Script Bag is the latest piece from Tod’s Double Stripe collection.

The bag features bright contrasting colours and the signature rubber pebble of Tod’s shoes. Speaking of which, the Winter Gommino worn showed a new streamlined look and is an ultra-light version of the signature style.

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SOFT AND CLEAN Ermenegildo Zegna again chose to go for a leaner tailoring style but with a softly unstructured and relaxed feel – perfect for the city and for those with a more traditional style sensibility. With outerwear as the highlight of this season’s collection, jackets and coats took centre stage. Casual luxury pervaded the collection and wide body shapes were favoured. Hoods and caped cagoules were seen as were quilted “puffy” styles of jacket. In the suiting, waistcoats were also used to great affect when paired with matching blousons and slim fit trousers.

A variety of tweed and wools were on display here too with Harris tweeds combined with soft woollen plaids and micro checks, while tailored blazers featured subtle details. The colour palette on show was infused with rich winter darks and deep charcoal and black involved in an interesting interplay. Flannel grey, espresso and camel were also seen and highlighted by touches of indigo. Footwear was taken care of with a range of laced knee-length boots fitted with a brogue style toe, as well as leather Chelsea boots. Completing the looks were a series of fine-gauge knitted beanies and suede gloves with soft knitted ties.

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LOCKED DOWN DSquared2 blew the lid off any preconceptions of stuffiness with their collection of bright and tailored suits. Relaxed shapes with plenty of layering typified the style, which clearly took inspiration from prison guard uniforms. Models took to the catwalk with keys hanging from belt loops, while other more casual looks adopted ‘Cell Block’ slogan sweat tops, tracksuit bottoms and tapered trousers. With inky colours the palette of choice, including hot oranges and denim blues offset by flashes of rich camel, chocolate brown, burgundy, burnt orange, black and white, the wide legged silhouettes were a clear win. Wools in the guise of fine gauge knit were also on show alongside silks and leathers in the casualwear line. A key piece here was the 1990s inspired black bomber jacket. As usual for DSquared2’s, signature denim was worn head-to-toe, with triple-denim looks of shirt jacket and jean. The denim was distressed, ripped and faded in one of the key looks of the collection. Footwear took on the guise of work boots in black and burgundy leather in keeping with the rugged sportsman aesthetic.

DSQUARED

VERSACE

BLAZING SADDLES In a nod to the American west and biker chic, Versace’s collection took an interesting look at masculinity. With somber colour ways in rich camel navy and black, the collection was enlivened by the appearances of electric blue, fire-engine red, claret, teal and white items, giving an earthy yet lively appeal. Stylistically though the collection was typified by high glamour as cowboy styles collided with rough and ready biker looks, creating a wild west on wheels ultraluxe look. Not for the everyday wardrobe, this collection was full of surprising and quirky details. Roll-necks were worn under unbuttoned silk western printed shirts with single buttoned blazers detailed with appliqué cactus, horseshoes and sheriff star motifs. Formal trousers were dispensed with in favour of leather trousers and chaps. Splendid and studded and rhinestone bedazzled leather biker jackets were a key feature of the outwear range, while ponyskin and even chinchilla fur seen on hoodies and on the double breasted jackets gave the collection a luxurious finish. The models feet were logically shod in boots of black, brown, red and tan leather.

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COLOUR AND SHAPE Avoiding the almost totally muted hues seen on other catwalks, Salvatore Feragamo’s lively and bright collection gave a new spin to a more laddish style. With flashes of cobalt blue, saffron, mustard, duck-egg blue and hot orange to warm up the more subdued black, navy and camel tones, the cuts on show were slim of waist and bold of taste.

Outwear was showcased with slim cut, double breasted pea coats appearing in numerous guises. While some models were viewed with belts cinched in the waist, others were worn completely open to dramatic effect. But it was certainly the colour and fabric panelling which had the audience’s attention. Swathes of felted wool and mohair were fused together in colour-blocked brights creating a visual and tactile impact. The vivacious colours also appeared in strips at hem and cuff, offering eye-catching attraction. Fur collars were also on show with suede and leather updating jean construction jackets and bombers. Tailoring remained classic with the pinstriped suit in chalk-drawn stripes, with low V-neck shirts replacing collar and tie combinations.

Footwear was beautifully represented in leather ankle boots with ankle strap in dark brown, tan and cobalt blue.

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PUSHING THE BOUNDARIES Sergio Corneliani took the opportunity in Milan to hone in on the suit, perfecting and expanding upon the ultimate wardrobe staple with a contemporary yet minimal dandyism at its heart. Corneliani strived to dispel any idea of stuffiness, and yet stayed true to its “suited and booted” credo, avoiding theatrics and sticking firmly to its theme of refined simplicity. Unfussed black suits and white shirts offered an easy elegance as did the cable knit sweaters, long slender trench and short leather jackets on show. The pieces were simple and straightforward. Sprinkling in separates made up in tartan or adorned with shearling and other great texture fabrics, the collection was rounded out with an autumnal theme and models all wore hues of black, grey and camel. Shoulders were soft and flat fronted trousers were worn without breaks in the cuts and shapes of their offerings, but these were expertly punctuated with fine fabric choices – especially seen in its cashmere suiting. But there were also snippets of mink, velvet crocodile and plenty of top drawer tartan to draw the eye.

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CORNELIANI

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EDITOR’S PICKS

ON THE SCENT - VAARA

BY P E N HAL I G O N ’ S , LO N D O N

Vaara is a fragrance designed by Penhaligon’s, specifically commissioned by one of their many distinguished clients and is inspired by the Royal House of Marwar-Jodphur in Rajasthan.

Vaara started life as the passion of His Highness Maharaja Gaj Singh II, who desired a scent to commemorate the birth of his granddaughter Vaara, and to reflect his family’s deep love and connection with Jodhpur. The perfume offers a unique glimpse into this aromatic world of the Maharaja.

Penhaligon’s sent master perfumer Bertrand Duchaufour to Jodhpur, with the mission of painting an olfactory image of the city by taking inspiration from the encounters he experienced in the historic forts, palaces, exotic gardens and bustling city markets that are found in the region.

He succeeded by expertly creating a perfume filled with scents and spices that typify the region.

Vaara has an intriguing head note made up from a blend of coriander and carrot seeds, creamy saffron and quince, and heart notes of rose blended with Indian magnolia, freesia and iris.

The fragrance settles into base notes that are a combination of honey, white musks and resins with tonka bean, cedar and sandalwood.

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EDITOR’S PICKS

CREATURE COMFORTS

BY S U S AN NAH LOVI S JE WE L L E R S

In the heart of London’s West End, you can find Susannah Lovis – a jewellery store specialising in beautiful and unusual pieces. Based in the Burlington Arcade, the boutique has carved a reputation as the goto destination for unique, one-off, vintage and antique pieces sourced from around the world for its exclusive clients. Susannah and her expert staff provide a highly personalised service, offering bespoke jewels for men and women, as well as a design and redesign service to satisfy even the most demanding of clients.

The welcoming bijoux shop in the world famous luxury-shopping arcade is an intimate treasure trove, which has seen people ranging from Prime Ministers to Hollywood stars pass through its doors.

With a wide variety of items, clients are able to browse for hours in relaxed but professional surroundings.

Here we are showcasing her wide range of stunning brooches, which take inspiration from insects and include diamonds, rubies, garnets, emeralds and opals and capture a unique and beautiful Victorian styling.

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PIPE DREAMS B Y D E S VA L L

The shisha pipe is a common site on the streets of the UAE. For those who want to add some exclusive refinement to the smoking experience, it is hard to match the air of exceptional quality a Desvall Shisha pipe can offer. Handmade in Sweden, each Desvall pipe is a tour-de-force of fabrication and skill.

With each item within its range limited to just fifteen pieces, each pipe is fashioned with a unique serial number to ensure its rarity. Made from stainless steel, crystal-glass, ceramics and high quality silicone, each piece is handled with the utmost precision and takes upwards of 200 man-hours to produce.

Should you desire a glass pipe, each crystal vessel is hand-blown and cut to create a beautiful vase-like quality.

Any ceramic additions are made using traditional Swedish design techniques.

Should a metal shisha be ordered, each piece that comprises the pipe is milled out of a solid block of metal with tolerances down to five-hundredths of a millimetre and then sanded, polished and individually coated by hand.

But what makes a Desvall Shisha truly unique, is the fact that they are engineered as much as they are crafted.

With their patented centre ring design, a Desvall pipe allows for the pipe itself to rotate on its own axel, preventing any unwanted accidents and stopping the shisha pipe from toppling over.

The mouthpiece is also unique to Sweden and is fashioned from Reindeer antler by the Sami tribe – a nomadic reindeer herding people native to the northern hinterlands.

Each Desvall piece can be gold or chrome plated for an addition twist of exclusivity and the pipe comes in an individually handmade leather box, but they are certainly only for a select audience. Their black model is the least expensive at $60,000, while a custom design can cost anywhere in the region of $100,000.

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SOUNDS

TRUE Sound studios across the globe have put their faith in the

superior audio output of Bowers and Wilkins for decades, safe in the knowledge that their speakers produce arguably the most authentic and clear sounds on the market. Now their prized studio technology has trickled down into their home audio technology range.

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SOUNDS TRUE

Most audiophiles are forever in search for the speakers that will give them impeccable clarity – a flawless mix of bass and tenor, free from the smallest distortion. The Bowers and Wilkins Diamond 800 Series speakers offer as close to audio perfection as it is currently possible to get in a home audio system. The 800 series has been around since 1979 and has represented the very best in speaker technology throughout its near 35 year tenure at the top of the audio game, but the latest release from the pioneers of audio equipment has pushed the boundaries still further thanks to the revolutionary technologies applied.

As its name suggests, the 800 Diamond features tweeters made of pure synthetic diamond. Obviously, natural diamonds do not make the most cost effective solution for speaker production, however B&W has engineered a way in which to grow and cast artificial diamond

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into dome shapes, under lab conditions. Once the superfine, ultrahard dome is complete, it is laser cut and inspected for any minute imperfections that may affect the audio output. The lightness of the product combined with its superb rigidity give the speakers an unsurpassed clarity in high frequency sound management.

Diamond seems an unlikely choice from which to fabricate a piece of technical equipment such as this, but it is not the only unusual material application on show. The cone of the 800 Diamond is fabricated from Kevlar. That does seem to be a seriously heavyduty choice, however while Kevlar is best known for its bullet-stopping capabilities, its sound absorbing qualities make it a great option. In the same way that Kevlar absorbs the shockwaves and impact of a bullet, it soaks up the standing waves in a speaker cone that can colour and distort midrange sound. Not only does it help deliver a far

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“The best loudspeaker isn’t the one that gives the most, it’s the one that loses the least”

cleaner sound quality, it can do so to a wider speakers include Rohacell – a material generally group of listeners. utilised in automotive and aerospace industries, What is stylistically unique to the 800 which is used to make up the structural heart speakers is the teardrop shaped speaker of the speakers. Its unusual combination of very heads, which are made of Marlan – a super low weight and very high resistance to bending hard composite material which is sprayed with stress, make it the ideal choice for a multitude of seven layers of lacquer and hand polished applications within the fabrication process. until smooth and shiny. But this isn’t a purely The speakers also include other technologies aesthetic choice – it has technical merit also. mastered and perfected by B&W such as the FST Isolating the tweeter from the cabinet ensures mid-range drivers, Nautilus tube-loaded tweeters, JOHN BOWERS that sound waves are travelling in the direction and Matrix enclosures. Once assembled, every they should: towards the listener, not across the 800 Diamond series product is subjected to a cabinet surface. It also means the time-alignment with the midrange thorough inspection, with the B&W engineers scrutinising the endurance driver can be finely adjusted. Other unusual materials that make up the and performance of each speaker.

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WATCHMEN OF TOMORROW The Salon International de la Haute Horlogerie 2014 marked the beginning of the watchmaking year at Palexpo, Geneva and raised the curtain on the new directions within the fine art of watchmaking for the coming months. During a five-day exhibition, sixteen fine watch houses demonstrated their age-old expertise, innovation and unparalleled craftsmanship through their next-generation timepieces.

ROGER DUBUIS Roger Dubuis has been at the forefront of contemporary haute horlogerie since 1995. This year the brand decided to introduce the reinterpretation of the Hommage collection that encapsulates the spirit of the visionary watchmaker Roger Dubuis, founder of the company.

This pink gold model is powered by its very own ‘Incredible Mechanics’ in the shape of the RD680 movement with micro-rotor. The concave bezel juxtaposed with the high flange bearing applied five-minute markers extending the raised applied Roman numerals and subtly lowered centre, all combine to create an impression of depth and multiple layers. The latter is in turn further emphasised by the audacious sunray guilloché dial motif – which itself echoes the radiating arrangement of the numerals and is picked up on the crown surface.

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VACHERON CONSTANTIN The oldest and one of the most prestigious watchmakers in the world, Vacheron Constantin used the SIHH platform to introduce its latest version of the Malte Tourbillon, in one of two finishes. The model is released in a fifty-piece individually numbered edition.

The Malte Tourbillon Collection Excellence Platine, seen here, comes with a curving 38 x 48.24 case in 950 platinum. Secured by a 950 platinum folding clasp, the dark blue Mississippiensis alligator leather strap is graced with a saddle-stitched finish and hand-sewn with silk. The 169-part mechanical hand-wound Calibre 2795 endows this model with an almost twoday power reserve. The piece is also available in a high jewellery finish.

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RALPH LAUREN A relatively young brand in terms of the watchmaking tradition, Ralph Lauren presented a new Automotive timepiece for this year. The model features one of watchmaking’s most prestigious complications, the Flying Tourbillon which is revealed through an aperture at 6 o’clock and supported only at the bottom of the cage, appearing as if suspended due to its meticulously cantilevered construction.

Housed within a 45 mm shot-blasted black stainless steel case, and operating at a frequency of 28,800 vph, the exclusive RL167 self-winding calibre reduces the effects of gravity to achieve absolute precision. Through the sapphire-crystal case back, the 28-jewel RL167 calibre may be admired for its off-centered gold-plated microrotor and exquisite decoration in vertical Côtes de Genève.

BAUME & MERCIER Founded by brothers Louis Victor Baume and Pierre Joseph Celestin Baume in 1830, the Baume family has been providing quality timepieces to the world for almost two centuries.

The SIHH witnessed the introduction of the brand’s three new chronographs from its Clifton collection.

Inspired by the design that was prevailing in 1950s, all three models have a 43 mm case and a Swiss-made self-winding mechanical movement from ETA with 7750 chronograph calibre that can be seen through the sapphire crystal case back.

To suit various personality types, the watches come on either a black or brown alligator skin strap fastened with triple folding buckle with safety catch or on a polished, satin-finished steel link bracelet that reinforces the look of a modern gentleman.

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Cataloguing the past The definitive guide to dressing, Vintage Menswear: A Collection from The Vintage Showroom breathes new life into the fashions of yesterday.

The Vintage Showroom, established in 2007, is one of the world’s leading dealers in vintage menswear, with a prestigious archive comprised of hundreds of unique pieces of clothing from yesteryear. Douglas Gunn and Roy Luckett, co-founders of the London based store, are the curators of this definitive collection of 20th century mens fashion.

With over 35 years knowledge and experience of vintage clothing between them, the pair spend many months of the year trawling through dilapidated barns and warehouses around the world, uncovering sartorial gems as they go in order to fill their Covent Garden premises.

Their collection is primarily made up of sportswear, work wear and military apparel – any item of clothing that holds a ‘functionality before fashion’ ethos.

Pieces from the archive are often sold or leased to design companies who are looking to the past in search of inspiration for their next creative project, however Gunn and Luckett have made it easier for budding stylists by compiling a wonderfully illustrated book - perfect for those with an eye for vintage attire. Alongside noted style writer Jason Sims, the pair has annotated photographs of the collection, telling the stories of the garments and bringing life back

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to fashions that have been overlooked, neglected or even forgotten.

Items in the book include unique pieces, such as the Royal Air Force Escape and Evasion boots. The man who designed the footwear, Christopher Clayton-Hutty, ensured that the top section could be easily cut away (using a concealed blade). This turned the hefty boot into a plain black oxford shoe that would not draw unwanted attention to an airman shot down in enemy territory - very nifty indeed.

Other military items included are the tropical uniforms used by the Japanese army in the 1940s. During the Second World War the Japanese were ahead of the UK and the US in their switch to khaki colouring, being the first army to discard bold colour for ceremonial duties as well as for clothing in the field. Their tropical lightweight parka from the 1930s was allegedly the inspiration for the robes worn

by Jedi knights in the Star Wars series.

The brands Gunn and Luckett work with find inspiration in these design details – the way a collar is shaped here, the way a buckle is set there – and now this book offers an opportunity for the public to peek inside The Vintage Showroom and marvel at these rare and unique garments of the past.

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Philanthropy

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BUILDING A BRIDGE

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Building a bridge Italian fashion brand Diesel, best known for its high-end prêt-à-porter clothing aimed at the young adult market, has inked a deal with Venice city council to restore one of the most famous of Italy’s sights, the Rialto Bridge.

The oldest of four bridges to cross Grand Canal and connecting the districts of San Polo and San Marco in the heart of the city of Venice, the Rialto Bridge has always been a busy crossing, and an iconic landmark. Probably the most visited bridge in Italy, it was opened in 1591, replacing various wooden bridges that had occupied the same location since the 12th century.

According to historical evidence, several prominent artists and architects of the time were considered for the design

of a new bridge, including one of the most influential figures of Western art and culture, Michelangelo. However, it was Anthony da Ponte (meaning ‘Anthony of the bridge’), who got the honour of designing the architectural piece and after three years of construction, the Rialto Bridge made entirely from stone was ready to serve as the sole connector bewtween the two sides of the city.

forming a market place. Because galley ships were meant to pass under the bridge, its arch was higher than most bridges in Europe – reaching about 7.5 metres.

With about twelve thousand wooden pilings supporting the construction with a single span of 48 metres, the bridge was designed to stand the test of time, but perhaps not this long – it is hardly likely that Anthony

The bridge was formed by two inclined ramps covered by a portico, a structure consisting of a roof supported by columns at regular intervals, with shops on either side

da Ponte ever imagined the heavy burden of history his creation would eventually endure.

If a couple of centuries ago the Rialto Bridge was crowded with merchants carrying their

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BUILDING A BRIDGE

The Mayor of Venice, Giorgio Orsoni (pictured left) thanked Renzo Rosso, the founder of Diesel (pictured right), on behalf of all Venetians for safeguarding the heritage of the city. Because of Diesel’s financial intervention, the Rialto Bridge’s future is more certain.

goods from one bank to the other, today the bridge is swamped by some twenty million tourists each year.

The years of constant and increasing use have begun to take a serious toll on the 400-year-old Rialto and the first signs of its increasingly fragile state were observed in 2001, when a column on the bridge’s railing collapsed and some of the marble steps began to crack. The bridge was sured up, but remained in desperate need of a full scale overhaul. In 2013 when one of the steps dislodged and part of the bridge was closed down, the need for its wholesale restoration became urgent and immediate.

For decades Venice has benefited from a special law under which Rome provided extra funds for the upkeep of its palaces and canals.

Yet, the timing for the restoration couldn’t have been worse, as city budgets were being cut amid Italy’s economic crisis, and the municipal coffers were dry. In response to the lack of funds, the call for willing benefactors and donors went up across the country. Italy has now got something of a track record in restoring public spaces without diving into public funds. Private sponsors and some famous brands, like Prada, Bulgari, Fendi and Louis Vuitton, have been sponsoring the restoration of the country’s key landmarks,

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“We’ve been lucky to find someone who believed in our idea of putting the public and private sectors together for the renovation of this important piece of architecture” GIORGIO ORSONI

including palaces and churches, as part of their own corporate social responsibility campaigns to great effect.

Thankfully, the deplorable condition of the Rialto Bridge didn’t go unnoticed by the private sector. To avoid sharing the fate of its wooden predecessor that collapsed during the Middle Ages under the weight of spectators watching a boat parade, the restoration of the bridge has been undertaken by the holding group OTB (Only The Brave), headed by Renzo Rosso, the founder and owner of Diesel clothing, a brand based in the Veneto region, close to Venice.

This latest example of cash-strapped Italy appealing to private sponsors to fund

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the upkeep of its cultural heritage will cost €5 million and includes the complete restoration and cleaning of the famous landmark. The work on the centuries-old bridge will begin in early 2014 and last approximately eighteen months.

Rosso, a native to the region around Venice, stressed that his involvement in the project would be purely creative, as he as a modern entrepreneur is determined to help but not replace the public administration that is often overburdened with costs. “There is no city in the world that is more beautiful in terms of architecture - and it’s the city of love,” he said. “It’s close to my heart, where I went to university and a point of reference for me. I wish to give back to the territory.

When you make a profit, it’s only right to give something back to culture and society, especially in times like these.”

The only benefit the company will receive from this sponsorship is the right to cover thirty per cent of the restoration site with advertising billboards.

The Mayor of Venice, Giorgio Orsoni called the project a fundamental collaboration for safeguarding of common heritage. “I have to thank him (Renzo Rosso) on behalf of all Venetians, but also on behalf of the entire world, because maintaining this city is a commitment that goes beyond the city itself.”

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STONES OF RARE BEAUTY While many believe diamond to be the most illusive gemstone in their rarity and value, it is in fact high quality emerald - in all their rich and fascinating splendour, that deserves the title. At the Kagem mine in Zambia, Gemfields has tapped into one of the richest seams of the stone ever found, and is bringing these captivating rocks to the market - but in a uniquely sustainable way.

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Green agenda CURRENTLY PRODUCING TWENTY PER CENT OF THE WORLD’S HIGH QUALITY EMERALDS, GEMFIELDS IS ONE OF THE BIGGEST EXPORTERS OF COLOURED GEMSTONES GLOBALLY. BUT THIS COMPANY, THE NEW OWNER OF THE ILLUSTRIOUS FABERGÉ JEWELLERS, TAKES ITS OBLIGATIONS TO SOCIAL, ECONOMIC AND ENVIRONMENTAL DEVELOPMENT TO THE CORE OF ITS CORPORATE PHILOSOPHY.

There have been question marks hanging over the methods behind the sourcing and production of precious stones in recent years, with the ethics and sustainability of mining a major concern. In past decades, horror stories of the huge toll mining operations have taken on poorer nations, particularly in Africa, have left the industry with a rather grubby legacy, and one that certainly follows it around. From unscrupulous regulation and even military enslavement through conflict gem mining, the negative connotations abound.

One mining company that is confronting the stigma and tackling these issues head on is Gemfields – a gemstone production

company with total transparency, fairness and ethical social practices at the heart of its operation. It has been a staunch advocate for local communities that surround its mines and has a firm belief that mining should not be synonymous with the pillage of nearby communities and resources, but rather the industry as a whole should leave an indelible positivity on the social, cultural and ethical landscape and the people with whom the industry comes into contact.

Gemfields mines for precious stones worldwide, but its home is in Zambia at its Kagem emerald mines, where currently the world’s richest seam of intoxicating green gems is being excavated. Emeralds are more

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than twenty times scarcer than diamonds and are keenly sought after by jewellery designers worldwide – and many firms will do anything to get their hands on these fine and coveted stone. Doing “anything” to source raw materials is however what has made mining such a dirty word, but this is far from Gemfields ethos.

Its dedication to Zambia is a real example of a corporate entity making itself wholly accountable to the people and area that make the industry possible. The stunning Zambian scenery, which is being impacted by the mining operation, has instilled a sense that despite the fiscal value of gems being sourced, it is the intrinsic value of the

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GREEN AGENDA

Mila Kunis, Gemfields’ current spokesmodel wearing Gemfields mined emeralds at the 2014 Golden Globes.

surrounding environment which is the real treasure, and it must be preserved at all cost.

From the communities around Kagem, Gemfields employs over 700 people who are able to work in safe, fairly paid jobs.

It is a unique approach to corporate social responsibility set up that tries to minimise the negative impacts of the mining industry – once tainted by ineffectual regulation and its subsequent geopolitical impacts.

With stories of conflict stones and

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environmental pillage abounding, Gemfields’ stand on the subject of ethics is as refreshing as it is necessary. Mining companies can no longer afford to be seen exploiting without consequence and Gemfields have decided to set the standard for ethical practice.

Working in partnership with dealers and manufacturers, tracking and monitoring its stones throughout their journey to the consumer, Gemfields has the ability to guarantee each of its gem’s provenance to

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customers. By closely monitoring the mineto-market supply chain, the source of each of its stunning gems is traceable, giving clients the ultimate peace of mind in the knowledge that the purchasing of their jewel has not had negative impacts on local communities down the line. Also important is the assurance that stones are conflict-free and have come from a company that prioritises the health and safety of its workers, environmental sustainability and the implementation of best business practice.

But it does much more than simply offer peace of mind to its customers, it actively participates in the communities its mines come into contact with. Gemfields doesn’t simply leave gaping holes to scar the landscape after mines are shut down – instead transforming old sites into lakes, which are then seeded with fish, offering nearby communities steady and clean supplies of food and water. It also builds schools and through the agriculturalassistance programme, is supplying farmers with seeds and fertilisers to help increase their crop yields. The company has also set up schools, medical centres, an HIV clinics giving the people who live in the shadow of the Kagem mine access to healthcare and helping to ensure a safe and sustainable future.

From an ecological standpoint too, Gemfields is innovating, implementing new methods and technologies with the aim of becoming a zero-carbon initiative. By adopting cleaner and greener methods of mining and eliminating the use of harmful

chemicals, the company is also setting itself apart as a best practice leader, making their business environmentally friendly as a result.

The company also actively supports philanthropic organisations and foundations whose aims and missions align with their own. It works particularly closely with the World Land Trust, an international conservation NGO that buys, preserves and protects threatened habitats worldwide.

In partnership with the World Land Trust, the University of East Anglia and London’s Natural History Museum, Gemfields has undertaken the monumental task of identifying, monitoring and conserving the previously unstudied flora and fauna of Zambia’s Miombo woodlands, a region immensely rich in biodiversity, in which its Kagem mine is located.

However, despite its commendable commitment to ethical practice, Gemfields is also making a name for itself on a purely business and jewellery production

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level, having recently acquired one of the illustrious and internationally recognisable jewellery brands in the world – Fabergé for $142 million. Founded by artisan Gustav Faberge in 1842, Faberge made its name catering to the tastes of noblemen and royalty throughout Europe at the end of the 19th and early 20th century and is perhaps best known for its imperial Easter eggs created for the Tsar of Russia from 1885 through to 1916. The Russian Revolution brought the first chapter of the Faberge story to a violent close. The brand was belatedly relaunched in 2009 and after legal wrangling over the use of the names and trademarks lasting nearly twenty years, Faberge is still one of the preeminent names in international jewellery.

The deal gives Gemfields, this new kid on the gemmological block, a real connection with a historical and heritage rich brand and the perfect forum through which to showcase its stunning range of coloured stones.

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Waste not…

Hermès’ capsule collections which go under the label petit h, take the unused bits and bobs left over from its main atelier and give them a new lease on life. In the process, it gives Hermès, a brand that is anchored in tradition and heritage, a contemporary voice for the 21 st century.

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WA S T E N O T. . .

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There are few brands with a finer and more illustrious reputation than Hermès. The mere mention of Birkin, Kelly or the orange box has inspired luxury aficionados the world over. All the various products, which range to everything from crystal and ceramics to watchmaking and silverware, are imbued with the hallmarks of quality and its inimitable reputation for timeless style. But naturally, when making fine products by hand, there will always be a degree of waste – where small offcuts and embellishments go unused.

Also, despite ultimate care and attention to detail, hand making luxury items can have its pitfalls in terms of mistakes and imperfections that would normally render otherwise flawless materials wasted.

A product with an imperfection, no matter how small or seemingly insignificant, simply cannot leave the atelier as they won’t pass quality control with a brand of such inimitable standards like Hermès and are relegated to the rubbish heap. Until recently, Hermès’ policy was only vaguely to repurpose its materials where possible - some loose strips of handbag-bound crocodile skin might find a new life as a watch-strap.

But Hermès’ co-artistic director Pascale Mussard, coincidentally the great-great-great granddaughter of company founder Thierry Hermès, has changed this attitude as she found masses of inspiration in the piles of waste and seconds. As a child, Mussard would run through the famed Rue du Faubourg-St. Honoré workshop, taking the unwanted flotsam and jetsam left over from the manufacturing process, saving it just in case a piece of full grain leather or satin could find a second use elsewhere. Years later, Mussard has re-introduced this notion of letting nothing go to THE LABORATORY waste into the workshop proper – industrialising The petit h concept brings together the repurposing of by-products and leftovers to materials, artists and artisans in one create new and exciting pieces. This project place to create together. A workshop is called petit h, and is a ground-breaking new Make no bones about it though, this is no in perpetual evolution that explores the potential of the salvaged materials direction for the legendary Parisian brand. publicity stunt, jumping on the back of austerity is a formidable laboratory of ideas and Petit h puts damaged and unused materials cost-cutting or any contrived desire to be ecoexperimentation where everything can to good use, reducing the company’s wastage friendly, or politically correct in the era of corporate be imagined, tried, or proposed. and making the most of every scrap in all its social responsibility – petit h came purely out of a beauty and quality. But what is special about desire to be practical and innovative. It is about this project is that the materials at hand aren’t simply repurposed, but reinforcing respect for majesty of the materials Hermès implements and are experimented with and reinvented. Within the petit h workshop, honouring the artisanship of those that have made beautiful objects that located a few doors down the street from the main Hermès atelier in are tainted by small imperfections. The sociological and environmental Pantin, the “mad science” approach is self-evident. With total freedom benefits of petit h are simply a welcome derivative of the process, as and abandon, the designers and craftsmen are allowed to innovate in cutting waste is simply good business practice. exciting and thoroughly modern pieces that are certainly “avant gardiste” The nature of the petit h idea means that it is not a brand unto and yet totally in keeping with the overall Hermès ethos. Designers itself – obviously when it comes to recycling, it ultimately depends on have the opportunity to play with their materials and also customer’s how much materials there are available which defines the shape and expectations – developing ideas that could eventually be adapted and structure of the capsule collections and as yet, it does not have a adopted by “Le Grand H” next door. permanent premises to call its own – rather it uses the Hermès network Scarves with ink blots are retooled into elegant necklaces in of boutiques with in and out pop-up shops as jump off points from which keeping with the Hermès aesthetic, but stretching the expectations to host the current range. But when the collections have been made of their product line somewhat. Other silks are morphed into various available to the public, there has been an insatiable appetite and stock different objects from ties to decorative wind catchers. Leather is rarely lasts long. This is perhaps due to the fact that items from the petit used to create plaited lanyard key chains, stylish equestrian whips, h range can be very reasonably priced allowing mere mortals to access portable device covers and notebooks - coffee shop style cup holders their stunning wares. The pieces are often eclectic and always vibrant made of richly coloured calfskin, or the croc laptop bag. Objects, but holding true to the Hermès production ethic of absolute quality in nicnacs and legitimate accessories come pouring forth with total fabrication. Think of it as high-end arts and crafts that only the creative authenticity and beauty. and talented minds at Hermès could achieve.

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STYLE STAKES With the Dubai World Cup just around the corner it is important to understand the fashion requirements that one must meet when attending a world-class racing carnival. We take a look at four of the most highly regarded events and offer style advice to suit.

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As with all morning attire, the biggest statement comes from the hat and at Royal Ascot, one should never be seen without it.

Royal Ascot Founded by Queen Anne, the inaugural Royal Ascot horse race took place on the 11th of August 1711. The Royal family is always in attendance, especially by the current Queen, who makes a specific effort to appear. And an effort must be made in the manner in which one dresses. The most fashion conscious among you will already know that Royal Ascot is not to be attempted by anyone with less than 100 per cent dedication to the traditions of the event.

This is not the place to try and “make a statement” but rather to conform to the rules of required race day apparel - and these are rules that are stringently and thoroughly enforced. Apart from the racing, fashion plays an important role particularly if you are fortunate enough to gain admission to the Royal Enclosure. This entitles you to sit among Royals and landed gentry alike, however gaining admittance requires

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an application to the Royal Enclosure office and the endorsement of a member who has attended the exclusive area for at least four years.

The dress code must be adhered to and gentlemen should be seen in grey or black morning dress. A waistcoat and tie only (neck or bow although the latter is exceptionally rare at Ascot) - no cravats or other neckwear is permitted, a black or grey top hat and black shoes. Frock coats are also accepted. But take note - gentlemen must wear their top hats at all times, unless in a private box, a restaurant, a private club, balcony or garden, or enclosed external seating area within the Royal Enclosure Garden.

A beautiful maker of top hats fit for the races is Christys’ and Co whose traditionally made lids are the perfect accompaniment to the well healed gentleman’s morning attire.

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The Dubai World Cup The richest racing event on the world calendar, the Dubai World Cup is one of the biggest social happenings of the year. The Middle East’s connection with horses and horse racing is well documented and the World Cup sees the great and the good turn out to enjoy the high-octane action of racing on the flat. But while Dubai, historically speaking, is a key player in the equine world, its racing showcase is still relatively young and unlike some for the more established racing carnivals, there is little by way of a distinct mode of dress that is either requisite or favoured as yet. But that isn’t to say that there isn’t a dress code that needs to be adhered to and underdressing is a serious fashion faux pas.

The fact that there is no distinct sartorial ‘modus operandi’ is no excuse not to turn one’s self out. To keep in step, it’s advisable to plum for a lounge suit with matching waistcoat. This combination gives a clean and correct design feel, but vibrant colours in too large a quantity should be avoided. A more modern cut and finish to the suit should be preferred. This is a modern day event and that should be reflected in the clothing.

Dsquared2 offers everything that the event requires - a clean cut style fresh with modern touches — ideal for an event that is much younger on the international racing scene.

If however a more local flavour is your preference, national dress is also perfectly acceptable.

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Hackett London

The Melbourne Cup Australia has always had, shall we say, a more laissez-faire attitude to life and fashion, and this is reflected in the appropriate attire for race day at the Melbourne Cup – Australia’s premiere horseracing event.

That having been said however, rocking up to the gate in flip-flops and board shorts would certainly put a few noses out of joint. The dress code for the event is less about tradition, and more about fashion, which means that guests and spectators can show off a more personal style of dressing within the more loose code.

The fit of the suit can be chosen spefically according to what best suits the wearer and is not dictated by a formal dress-code allowing for a more individual take on fashion. Simply make sure it is nicely tailored and fits down to the last stitch. November is the height of the Australian summer and the scorching summer heat brings with it the need to carefully choose the correct and appropriate fabric. Lightweight wool, silk and cashmere suits are definitely the top options to fit the bill.

The choice of additional fashion elements can completely change the emphasis of your look. Consider a hat, cufflinks, gloves, pocket-handkerchief, belt, tie, sunglasses, watch and a flower in your buttonhole with great care. Perhaps pick a suit from a wellestablished maker such as Hackett London, whose modern yet relaxed approach will sit comfortably among the paddocks and grandstands of Australia’s most prestious racing carnival.

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The Kentucky Derby is the right place to embrace a more exuberant style - perfectly encapsulated by Isaia, pictured here.

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The Kentucky Derby With its heritage firmly planted at the turn of the 20th century, the Kentucky Derby is the highlight of the American racing season. With its heyday having been in the 1920s and 1930s, revivalism is not only accepted, but encouraged and it offers the perfect opportunity to stretch out ones more dandyish fashion sensibilities – think tweeds, white trousers and navy blazers, cravats and loafers.

The Derby organising committee actively supports bright colours and styles so make the trousers an eye-catching statement.

All gents should turn to sun drenched pants in vibrant colours like key lime, ocean, bermuda pink, and citron. Any one of these colours paired with the right shirt and blazer will make you stand out like no one else. Finish the suit with a great dress shirt in a complimentary colour but don’t be afraid to grab a fun gingham or striped shirt to turn it up. One option that is a must for some is the monogram on the shirt!

The jacket serves as the key piece to the ensemble here, bringing all these colourful and disparate elements together. With this in mind you can’t go wrong with the classic navy blazer. As far as two button or three button suiting is concerned, it’s a person preference. For neckwear there is the option of a traditional tie, or a more whimsical bow tie. The choice is totally yours – the only requisite is that the neck is appropriately festooned. There are many types of horse bit loafers out there and everyone has their idea of who makes the best ones. The most important thing you need to know is that they should be worn sockless. It is an idea to build on this informality of dress by looking at a more European suit sensibility.

Isaia of Italian fame has a tremendous range of shirts, blazers and suits that would easily allow its wearer to feel right at home at the Derby’s more charismatic event. With tweeds and pale hues blending together to make a modern yet preppy style, the brand is a safe bet!

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Behind the elite gates Manhattan’s private members clubs offer a haven of witty and welcoming company among the city’s power players in an ambience that is to the utmost degree, refined and relaxed.

While the phrase ‘private members club’ is generally associated with an older world social scene popularised in cities like London for instance, New York has almost two-centuries of heritage in this field, playing host to some of the most influential elite institutions in the world.

The social club is an organisation composed of people who voluntarily meet on a regular basis for a mutual purpose, be it social, cultural, or even political, and a gentlemen’s club is the most exclusive and private organisation among them all.

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Originally set up by British upper-class men in the 18th century, it didn’t take long for private social clubs to find their devotees overseas, resulting in an impressive number of highly privileged and exclusive clubs appearing on the streets of Manhattan. These places were meant to serve as the meeting point for the bluest of blue bloods from the American aristocracy.

Regarded as the oldest men’s social club in New York, the Union Club was the first to invite the privileged sons of “the land of the free” through its doors in 1863. However, the

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union of Union Club members soon started to fall apart thanks to major disagreements on number of political and social issues.

First to leave were those who didn’t share the club’s political worldview. These members left the old club and went about founding the Union League Club in 1863. In the 1870s, other dissatisfied members of the Union withdrew, forming the Knickerbocker Club, followed by the Metropolitan Club in 1891 and the Brooks in 1903. The clubs spawned from the Union Club to the day remain the most exclusive destinations in the

The interior of the Union Club, designed by William Adams Delano, is richly ornamented with rusticated limestone, while some witty decorative elements, including the coffered dome of the main hall, fill the whole space with unique ambience.

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CLUB ETIQUETTE There are two ways of joining a club, by invitation and by making application or having it made for you.

The new member usually, but not necessarily, goes for the first time to a club with his proposer or an old member.

The fact of being a club member does not grant any one the right to speak to strangers.

A club member must not speak to anybody who is reading or writing in the club’s reading-room or library.

When two people are sitting by themselves and talking, another should on no account join them unless he is an intimate friend of both.

A member is allowed to introduce a stranger for a length of time varying with the by-laws of the club.

If a man cannot afford to belong to a club he must resign while he is still “in good standing.” If later on he is able to re-join, his name is put at the head of the waiting list.

Failure to pay one’s debts, or behave unbefitting a gentleman, is cause for expulsion from a club.

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city, opening their doors only to a discerning few. They still set the tone and shape the character of the New York society’s highest echelons.

While New York clubs have lot in common with their London contemporaries, there are a few evident dissimilarities between the two.

As odd as it may first sound, American clubs are more luxurious, conservative, and socially exclusive than their British counterparts.

Also, private clubs in the United States tend to have much bigger influence on politics and culture. The Union Leagues Club being instrumental in establishing the Metropolitan Museum of Art and erecting the State of Liberty in New York Harbour and the Lincoln Monument in Union Square is the perfect illustration of this statement.

However, the main purpose of private gentlemen’s club in New York, as well as elsewhere, is not to provide the common ground for political or business discussions.

“The perfect clubman is another word for the perfect gentleman. He scrupulously observes the rules of the club, he discharges his card debts at the table, he pays his share always, with an instinctive horror of sponging, and lastly, he treats everyone with the same consideration which he expects – and demands – from them” E M I LY P O S T .

The club is meant to be a refuge for upperclass members of society who wish to spend a few relaxed hours in an elite inner circle and enjoy the atmosphere that harmoniously blends together two conflicting notions, refuge and company.

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The conservative nature and strict regulative rules of New York club membership has however come under scrutiny in the 20th century when clubs were pressurised by demands to allow women to become members. While some clubs, like the Metropolitan, have since become unisex establishments by changing their admission policy, others, like the Union Club, have dodged the delicate issue the way only true gentlemen would manage - maintaining a nowomen-allowed policy for their members, they provide accommodation for women guests, who “being ladies, would not wish to intrude on those parts of building reserved for men.”

To become a member of a private social club one must pay a subscription together with the annual fees. The privilege of having a place away of home that offers the quiet conviviality and the escape from the soulless routine of the modern life in the company of one’s peers should always come with the price.

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REINVENTING THE WHEELS

Reinventing PHOTOS: S I LV I A P E N N A C C H I O

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the Wheels Mr Martini bikes have become established as one of

the world’s premier customizers of classic motorcycles.

The café racer style it champions has won legions of fans worldwide, but their beautiful designs are as rare as they are sought after. Daniel Giacometti sits down with Nicola Martini and learns about how personal inspiration has created a one-of-a-kind business.

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Nicola Martini - Master Bike Builder and owner of Mr Martini.

Petrol heads are a strange and fascinating breed. The kind of people for whom the smell of motor oil is as evocative as the finest cologne and the sound of a finely tuned engine makes the hair on their arms stand straight. In the petrol head pantheon, many regard motorcycle enthusiasts as some of the most fanatical. This is certainly the case when it comes to Nicola Martini, an Italian motorcycle customizer, whose personal take on bikes modifies and reinvigorates the retro bike styles of yesteryear, fit for the 21st century enthusiast.

Growing up, Martini’s father owned a petrol station in Verona and the smell of oil and passion for motors was engrained at a very early age, but of all the forms that petrol heads can take, it would be motorbikes that would spark his passion. “I was attracted to motorcycles from the beginning, and my dad gave me a little space inside of his gas station where I started to customise and sell motorbikes. In that store, I became one of the first retailers of a British brand called Enfield in Italy”.

Enfield bikes have a distinctive retro styling and it was the brand’s more classic

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look that instantly appealed to Nicola. From then on, Martini almost exclusively worked with these more traditional styles of bike. By 1994, his offering increased to include Triumph – another tremendously well respected British

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brand and in 2001, he opened his unique and beautiful premises in Verona, from which he still operates.

His customised pieces became exceptionally popular and well respected, and with that recognition came a call from Triumph who asked him if he would be interested in working with them on a few collaborative projects. It was through this collaboration that the Mr Martini brand was born. “It was the name they used to call me in Triumph factory, and that became my brand identity” he explains.

Since then, Mr Martini’s customised bikes have become the absolute epitome in café racing style – sought after and coveted by a specific and unique clientele who not only have a respect for bikes but also the understanding that to get the best out of the machine, the rider must possess a passion unlike any other.

Approximately ninety per cent of the bikes sold are based on Triumph models, however that isn’t to say that Mr Martini will not take into serious consideration other brands, as they have also retrofitted models from the oh-so modern looking Ducati range. But it

“Sometimes I think that my bespoke bikes are more difficult to produce than paintings or sculptures, because they aren’t just designed to be looked at” NICOLA MARTINI

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is British bikes, with their flair and subtle elegance that are more often on the receiving end of Mr Martini and his six artisanal bike builders’ extravagant attentions. The aim is not to mask what is already there, rather Nicola and his team is attempting to enhance the bikes in beautiful ways.

While Mr Martini retails custom bikes with minor stylist and tuning alterations, it is however his all-in, top-to-bottom, made-to-measure bike offering that has become the garage’s signature.

These one-of-a-kind, completely bespoke and custom models are a rare breed indeed, with a maximum of eight bikes produced each year. More two wheeled working sculptures than merely motorbikes, these are not the type of product which can be rushed or mass produced. Coming to grips with a new idea and realising it is a labour intensive and time consuming process and one that the company is loathed to rush. “Sometimes I think that my bespoke bikes are more difficult to produce than paintings or sculptures, because they aren’t just designed to be looked at — they

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need to be used, and have to pass muster as working, functional and safe machines in order that they are able to be driven on the road. They go beyond simple visuals. The technical aspect is fundamental and also the most challenging part of the build process.”

When it comes to the design process for his custom two-wheelers, Nicola gets his inspiration from many sources. “The ideas pop out of my head quite organically. Sometimes it comes from visiting a new place, meeting people or even seeing colours. There is no hard and fast rule for what inspires me. Like traditional art, it can sometimes take years before inspiration becomes an idea, and for that idea to be transformed into a bike. But what I am certainly not trying to do is recreate styles and bikes that already exist.”

What is absolutely clear is that Mr Martini bikes are meant to be quintessentially beautiful – today, tomorrow and forever. Trends and fads are rarely if ever seen in their works and there is a quirky inventiveness and an obvious passion which shines through.

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And yet there is a deep respect for the medium. The engineers and designers constantly strive to make their bikes individual masterpieces like no other.

While the quality in the design speaks for itself and speaks volumes, there are also unique elements of a Mr Martini bike that you will rarely see elsewhere. “I sometimes use recycled materials to add some additional flair. I occasionally use old leather jackets by cutting them up and using the leather to cover the seat. Well-worn leather has a patina that is impossible to recreate and when its quality is good, it can easily be reused and reimagined.

This affect gives a really unique vintage look to what is essentially a new bike”. Mr Martini also goes to scrap yards to try and sniff out old tanks and parts that can be restored and given a new lease on life.

In terms of favouritism, Nicola finds it hard to pick one bike above the others. “I cannot choose one particular bike because each one has something special and unique about it and also because I refuse to take on a project if I

don’t personally like what the outcome will be – after all it is my name on the door! The bikes that come out of the workshop are created to be an expression of myself and of the brand and are completely free of any monetary or business pressures. It is the only way that the bikes will really speak to the Mr Martini style.”

What is also unique about Mr Martini experience is the showroom. A strange cross between a sumptuous living room and garage, it is a place unlike any other motorcycle showroom you will ever come across. “Five years ago, I thought my bikes needed to have their own house. That’s when I decided to create this very unique showroom, so that my bikes would be seen in a more fitting context.

It, like the bikes, has a retro style and is a warm and inviting place. It has carpets and beautiful walls with soft lighting, but it has no other decoration. The bikes are the centrepiece.”

The idea that a motorbike can sit inside a residential space with such ease is a bit of a novelty, but it is an ethos which Mr Martini is expanding on. The BugSuite collection is Mr Martini’s way of bringing bike culture indoors by creating a trunk that is stylish enough to fit inside the home where bike aficionados can store their various accoutrements – helmets, jackets and boots. “I wanted to have something so good looking that my wife would have no problem having it in the house,” he explains. Each piece is related to a specific bike

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which means that the colours and style neatly match and are made from wood trimmed with luxurious fabrics like velvet. They may not have an engine, but the concept directly speaks to the Mr Martini way of thinking.

Creating bikes for people that love them to the very core is Nicola’s passion and Mr Martini’s mission. Each piece gives a little peek into a world steeped in cultural iconography and stories of biking legend and offering an emotional connection with the brand and with bike culture which is practically unmatched.

“The client that buys Mr Martini understands the real values of things. It goes beyond the object - the bike. It is a way of thinking, behaving, and an intimate sharing of a singular passion.”

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THE BALANCE POINT

THE BALANCE POINT Being a traditional pub pastime without any formal governing body, rules of

Bar Billiards can vary, but one thing setting the game apart is that the fate of the winner is always decided at the last minute.

The story of Bar Billiards began with an Englishman David Gill coming across a game called Russian Billiards played in Belgium in 1930s. He was so fascinated with the intricacy of the rules that he convinced manufacturer Jelkes to make a version of the game. Consequently Bar Billiards, as we now know it, came into existence and today is still commonplace in public houses in the south of Britain and the Channel Islands. To this day Jelkes is regarded as one of the best and most authentic makers of Bar Billiards tables in the world.

Bar Billiards is particularly economical on space with players not needing to walk around the table. The game itself is unusual since it is limited by time and lasts between ten and

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twenty minutes according to preference.

During play, participants accumulate points by striking the balls, seven of which are white and one of which is red, up the table so that they fall down the holes at the other end. There are nine holes in all, scoring from ten to 200 points depending upon the difficulty. Potted balls run back to the front of the table in hidden channels so that they can be used again.

The difficulty of the game is due, in part, to the additional three skittles shaped like mushrooms or as small thin posts with metal crosspieces that are placed near the high scoring holes. If either of the two white skittles is knocked over, the break finishes and any

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points made during it are lost. Worse, if the black skittle is toppled, the player’s entire score is reset to zero.

Eventually, the time runs out and a bar drops inside the table, preventing any more balls returning to be replayed from the front of the table. The remaining balls are then cleared one by one until the last remains.

This is where the final fiendish rule comes into play - the only way to pot the last ball is into the 200 hole by first bouncing off a side cushion. Since this hole is situated directly behind the fatal black skittle and since 200 points is often enough to decide the overall outcome, last seconds of the game are always intense and dramatic.

LEAGUE LEADERS The Bar Billiards World Championship (previously called the British Isles Open) is held every year on the Island of Jersey, just off the British coast. Jersey is one of a few small enclaves where the game has continued to thrive.

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S I G N E D, S E AL E D, DE L IVE R E D

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Signed, Sealed, Delivered PUTTING PEN TO PAPER IS PERHAPS NOT AS EXPEDIENT AS TYPING AND CLICKING SEND, BUT FOR THOSE WHO STILL CLEAVE TO THE SIMPLE PLEASURE OF HANDWRITING,

BESPOKE STATIONARY CAN OFFER A WONDERFUL AND HIGHLY UNIQUE TOUCH TO ANY CORRESPONDENCE.

A gentleman’s desk is often a microcosm of personal taste, playing host to a variety of collectibles and tailor made pieces – items that read of its owner’s personality, tastes and joie-de-vivre. Look at any successful businessman’s bureau and, like a good pair of shoes, you can come to understand more about his passions and drives that are reflected in the accessories he chooses.

But perhaps an overlooked and underappreciated element of office apparel, except by those who are really in the know, is a gentleman’s choice of personalised stationary. It is a source of keen pleasure for most, and is an obsession for many. So much so that the covetousness it inspires has been keenly observed and satirised in literature and film – famously American Psycho sees the unhinged lead character Patrick

Bateman become increasingly undone by his rival’s superior quality of business card.

Bespoke stationary is the ultimate personal touch. From the embossing style, to the grade and shade of the paper, a man’s desk is never as complete as when it features this flourish of individual taste. Nobody encapsulates this spirit more carefully than the Italian stationary artisans of Pineider – a company with tremendous heritage in creating unique and tailor made desk-ware.

Since the second half of the 18th century, the famed Italian brand has crafted unparalleled bespoke papers and office apparel. Almost three centuries since its founding, the brand is still associated with the highest standards and quality, still using traditional techniques and

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maintaining its own unique heritage. Papers produced at its mill are still made with time tested methods using the best cotton or cellulose, and are chlorine and acid free which guarantees resistance to ageing.

But it’s not simply the brand’s dedication to traditional and environmentally conscious production methods that is appealing.

People flock to Pineider for their leaves and reams because of their expertise in specialty personalisation services. From watermarking to printing and cutting, Pineider offers a service that is almost totally unmatched.

The process behind watermarking, for instance, has been honed and perfected over time. Many believe watermarking is performed by making an addition to the paper, when in fact it is caused by thickness or density variations in the paper imprinted during the fabrication process. While watermarks were first introduced in Fabriano, Italy in 1282, the invention of the dandy roll in 1826 by John Marshall revolutionised the process and made it easier for producers to watermark their paper.

Pineider also makes its own laid paper. Since the beginning of the 19th century laid paper has been handmade by artisans thanks

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to the use of a mould with thin and parallel wires placed very close together. Pineider laid paper still follows the old tradition, even if it is performed in a slightly more industrial way and is made of 100 per cent cotton or cellulose fibre.

Paper made by Pineider can also be altered through the addition of a hand coloured border. Again, this procedure is done manually and is still performed today using time-honoured techniques by craftsmen who are experts in the process. If however you like to give your papers a more rustic quality, Pineider can also provide deckle edge paper. Traditionally made with a process called “water” system, the creation of the deckle edge comes from the application of a jet of water which causes the sheet to be “broken” at the desired point. The process requires consummate skill to perform.

But while these manufacturing techniques produce beautifully textured, carefully designed and made papers, where Pineider really excels is in their printing and engraving. Pineider is one of only a very few stationers which still use distinctive traditional hand-engraving techniques. Engraving paper was invented in the 15 th century by Maso Finiguerra, a goldsmith and engraver who practised the art

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of “niello”, the method by which metal objects are decorated. In 1452 in Florence, applying his niello technique to paper, Finiguerra invented Calcografia, or copperplate engraving. Almost six hundred years later, Pineider’s hand engraving techniques still take inspiration from his original process.

The engraver hand-makes each design – a painstaking process which requires the carving of intricate patterns onto a steel or copper plate. The plate is then used as a print stamp. The designs are exceptionally fine and create beautiful accuracy in the print work. Before ink is applied to paper, the plate is heated, and then covered with the ink. The warm ink seeps into the finest of depressions and fills the lines and textures of the drawing. The rest of the plate is cleaned off. The copper plate is now pressed with a printing press on to moistened paper which soaks up the ink from the depressions in the plate.

Characteristic features of copperplate engravings are fine lines, richness of detail, and soft contrasts (unlike the woodcut); nevertheless, there are no actual gradations of tone. While the printing technique requires absolute precision in the quality of the

engraving, it would not have the desired finish without superior paper quality as the paper must not break or distort under the press. Pineider is also an exponent of blind embossing techniques where impressions are left on paper, but without the use of ink. The result is very elegant.

The minutiae of the bespoke procedure even stretches as far as having any choice of fonts, some even exclusive to Pineider.

Designers and engravers draw all the styles in accordance with the ancient tradition of hand-made lithographic printing, which in the early days involved using a smooth piece of limestone. The result is the contemporary translation of the classical typefaces available in a wide variety of ink hues.

Today Pineider specialises in unique pieces for the individual that craves the finest in tailor made products. There special works offering also covers wine labels, monograms, coats of arms, ex libris book inscription, and home reproduction – a tradition born in England in 1660 when perfect reproductions of noble houses and their wonderful landscapes were imprinted on paper as the most exclusive manner of personalised luxury.

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Heritage

H E R I TA G E

T H E S A R T O R I A L H E R I TA G E

THE SARTORIAL

HERITAGE Naples is as unique a city as one can find in Italy - with its own way of living, its own dialect and its own distinct way of dressing. It is in this staunchly individual city where the world’s most admired school of tailoring has come to be, and represents the very best in bespoke craftsmanship.

Italy and fashion are words that go together, hand in glove.

There is an immediate and characteristic idea that has always connected the two, with distinctive styles that represent each region championed both nationally and on the world stage. Naples in recent times has garnered widespread distinction for its unique modes and has earned a reputation for its fashion and tailoring prowess. But while the Neapolitan school has been championed in the last century, its establishment comes more from a deep legacy and heritage than

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a simple fashion, and it is a tailoring tradition which has been cultivated in the region from the mid-1300s.

The earliest record of Neapolitan tailors can be found as far back as 1351, when a guild of master tailors called the Confraternita dell’Arte dei Giubbonai e dei Cositori or the “Brotherhood of the jacket makers and of the tailors” established itself. Meeting up in ecclesiastical environments such as the chapel dedicated to Saint Michael the Archangel located inside the ancient gothic church of Sant’Eligio al Mercato,

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the brotherhood began as a means of unionising the tailoring industry and protecting the skills and techniques of the trade.

Even from this embryonic stage, the fashions produced in Naples were widely appreciated and considered to be of the finest quality. Because of its burgeoning popularity, the tailoring fraternity established a flourishing industry. The development continued into the 1400s – an age that saw the region become home to producers of fashion’s finest raw materials – silk and wool, the introduction of which fed the growing thirst for Neapolitan styles.

By this stage Naples was thriving not just within the tailoring industry, but also with artists, sculptors and architects who were executing revelatory pieces of art in a new forward thinking style. At this point The Renaissance had taken a firm hold and Italy was experiencing an artistic culture of creation the likes of which had never been seen before and has not been seen since. It was at this point that a specific style of dress, unique to the region, began to emerge and tailors from Naples were co-opted into courts throughout Italy. By the 1500s there are recorded examples of tailors coming under contract to wealthy customers as private artisans.

A hundred years later there was a staggering 607 registered tailors in Naples authorised under the jurisdiction of the brotherhood to perform their trade. However, the industry was in steady decline and by 1800, the city had sadly become a victim of its own promise. As it prospered, it had attracted more and more people. As the population boomed to half a million, poverty in the city had become rife and what was once a shining jewel in the Italian crown, had lost its lustre and prestige. The city had fallen from grace and far out of fashion.

The style of the region then went into a strange schizophrenia where nothing really made sense. Eschewing other more tasteful styles from other noble courts, the Naples favoured the Borbonic styles of France – something that was wildly out of fashion in most other major European centres, including Milan.

It was only at the end of the Borbonic era that the Neapolitan tailoring school found new energy and began to stake a new claim on Italian and European fashion. Giacchino Trifari became famous for his stylish suits at the time (he had a shop in vico Concezione in Montecalvario) and, towards the end of the 1800s, two master tailors, Raffaele Sardanelli and Filippo De Nicola, had become eminently popular. Kings and heads of states were again charmed by Neapolitan creativity and the undeniable skill, opulent shops and refined clothes that Naples produced. As nobility and high-society came flooding back, so the fashions of the day began to evolve again in the crucible of Italian fashion heritage.

New cuts and colours emerged and gave people a new style on which to “hang their hat”, beginning what we would now come to refer to as the ‘Neapolitan school’. The first was De Nicola on via Partenope, a Neapolitan tailor who enjoyed international renown, followed by the master Raffaele Sardonelli, as well as the Caggiula and Rubinacci families. All became household names across Europe

and were celebrated for their innovation and skill.

By the turn of the 20th century Neapolitan style was firmly established as “de-rigeur” and the great and the good began to come from far and wide for their slice of Neapolitan fashion savoir faire. Tailoring houses have served generations of families and are as ingrained in the psyche as much as a preferred football team.

The process of having a suit made has gone relatively unchanged since the turn of the century. A visit to the “sartoria” will usually involve a consultation over a coffee about the needs and wants of the client from the tailoring process. Neapolitan fashion and suiting is about more than a simple suit – it is way of tailoring that takes care of the client and must reflect the wearer’s individual personality. If it does not do that, the tailor considers the process a failure. The consummate attention to detail is unmatched anywhere else. Once the consultation is complete and the measurements taken, then the waiting begins. They say, good things come to those who wait – in this case the phrase is certainly apt. And wait customers must.

Nothing leaves the workshop without being 100 per cent in order according to the master tailor.

Returning for a fitting session or two, the suit is finalised and finished and ready to be taken away. Hand crafted details typify Neapolitan bespoke tailoring and can be seen everywhere, from buttonholes to cuff and lapels – artisans trained in the mystical arts of suiting weave their magic into every stitch.

When complete, a true Neapolitan suit should effuse style and elegance, the likes of which really cannot be found elsewhere. The collar is high and holds tightly to the neck: the gorge is high and the lapels are large and soft. The shoulders are natural and unstructured, with a minimal amount of pleating, and the sleeves are cut high below the arms, taper to a narrow opening as they approach the hands, and are custom

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T H E S A R T O R I A L H E R I TA G E

The tradition of master tailoring has carried tremendous importance in Naples and in Italy as a whole, as can be seen here in this fresco at the Issogne Castle in the north of the country which dates between the 15th and 16 th centuries.

shaped to arch and follow the natural forward curve of the arm. The overall appearance is one of refined relaxation that is typical of Neapolitan style and is a finish that is not seen in any other mode of dress.

The documentation of the Neapolitan school shows an absolute dedication to handcrafted suiting – something prevalent in each of the most established tailors that adorn the city. The 2011 documentary ‘O’Mast’ by Gianluca Migliarotti, put the Neapolitan style sensibility into sharp focus. A detailed look at the lives and stories of Naples’ most illustrious garment makers, the film details the inspiration and heritage of Napoli’s senior tailors – the men who lit the touch paper on the rediscovery of Neapolitan master tailoring. They talk candidly about what makes Naples so unique and how tailoring has become mastered, perfected and passed down the generations.

Tailors like Maurizio Marinella, Antonio Panico, Claudio Attolini and Claudio Attolini jnr., Marchese Giancarlo de Goyzueta, Pasquale and Michele Sabino, Pino Peluso, Ciro Palermo, the Ciardi family, Antonio Persico, Antonio Leonelli, Gennaro Formosa, Mariano Rubinacci, Lucio Migliarotti, Gianni Cirillo, Ugo Cilento, Ciro Zizzolfi, Beppe Modenese are names that do not compete with big brands, not because they can’t but because they don’t want to – they are in different leagues playing different sports as far as fashion goes. While Milan has become a centre for industrialised fashion, Naples has been left alone to cater to clients for who bespoke service is paramount. The tailors here do not want to compromise the quality of their products by outsourcing the process to those without the skill and knowledge of the craft. It is the ultimate in quality control.

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Principe d’eleganza is a brand of distinct skill and finesse that also fits the Neapolitan sartorial brief. Founded by Enrico Manzo and Antonella De Rosa, the atelier is dedicated to the idea of sartorial perfection within the Neapolitan Tradition. Their 100 per cent handmade garments are designed for the distinguished gentleman. The company’s ethos is premium, paying a maniacal attention to details to make that suit a unique piece, a work of art. After all – the fabrics used can reach a thickness of a mere 12.8 micron.

This type of fabric requires an expert hand - in fact it takes more than 48 man-hours to finish a single suit. For the rapid-fire tailors of Principe, who can sew accurately with their eyes shut, that is a heavy investment of time.

In recent years, a Neapolitan style has prospered with even the stuffy English tailors of Savile Row adopting a more relaxed philosophy of suiting that is synonymous with the Neapolitan mode – which is remarkable considering the Neapolitan tradition is so diametrically opposed to the English. But times have changed and the needs of the modern man have altered from the armorial formality of a serious business suit to a more laissez-faire attitude of the smart casual – something that Naples has championed.

With professions no longer requiring men to wear a formal suit, the Neapolitan cut has come to offer a neat alternative. The softness and comfort of the cut can be paired elegantly with the most robust and hardwearing pieces like jeans and chinos, something a Savile jacket cannot do. The jacket’s comfort and versatility mean that it has already become a permanent fixture in the well-dressed man’s wardrobe.

Neapolitan style is here to stay, be it in the UK or in Napoli.

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Modern Neapolitan styles have adopted bright and vibrant hues, appealing to a younger and more fashion savvy clientele as seen here in this suit worn by Luca Rubinacci.

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FLAIR GUNS

Flair guns JAMES PURDEY & SONS IS WIDELY REGARDED AS ONE OF LONDON’S MOST ILLUSTRIOUS NAMES IN

GUNSMITHING. AS THE COMPANY ENTERS ITS THIRD CENTURY, A STEADFAST DEDICATION TO TRADITION, CRAFTSMANSHIP AND INNOVATION REMAINS AT THE CORE OF ITS BRAND PHILOSOPHY.

In the modern day, guns are available in a multitude of varieties, calibres and styles, straight off the shelf - prêt à tirer.

They have become egalitarian and the rough and ready, gun slinging lifestyle that comes with them can be purchased lock, stock and barrel at the nearest convenience store – with the correct permits of course. But what kind of lifestyle is it that has come with this

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democratisation of weaponry? Certainly not the kind espoused and cherished by the illustrious gunsmiths of yesteryear, whose finely crafted approach to fabrication and assembly made guns not only fearsomely functional, but more importantly, pieces of art.

It is that tradition of gunsmithing – the mastery of the craft and the creation of timeless pieces, that James Purdey & Sons

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of London holds on to — the idea that a gun should be as rare a thing as the occasion in which it should be appropriately used. If you walk into their London premises in search of a “Saturday night special”, then move along – there is nothing for you here. If however you are in search of a bespoke rifle to rival the very best, then there are few makes that can compete.

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FLAIR GUNS

The history of James Purdey & Sons is one of family and firearms. Its beautifully crafted guns are a testament to the skill of generations of master craftsmen.

The manufacturing of a Purdey bespoke gun or rifle is a painstakingly unique procedure that requires commitment and dedication to the craft. Each gun that carries the Purdey name is not only handmade with the most meticulous skill, but is hewn specifically to the individual it is being made for after a rigorous and thorough measurement and testing. Being fitted for a Purdey gun is somewhat more bombastic than being measured for a bespoke suit, but

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is no less thorough or involved. Customers are chaperoned to the gun range in order to get a sense of how they shoot and the best type of gun for their needs. Every element of the gun is made entirely for the client and the process from start to finish can take upwards of two years to complete.

Purdey weapons have, since the company’s founding, been manufactured in London, ensuring its products are always eligible for the title of a London ‘best’ gun

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(only a handful of gunsmiths are able to hold this title). The company is steeped in rich history - a family business that has remained in family hands for all but its very recent past and has always striven to beat the forefront of artistic and technological innovation.

The Purdey family were from humble Scottish blacksmithing stock. In 1690, John Purdey travelled to London where the city was prospering and his relations had set up a thriving blacksmithing tradition in the

Wandsworth area of the city. His son James followed the family tradition, smithing in the shadows of the tower of London, in the gun quarter. Working in and around the gun trade it is likely that James picked up some of the knowhow of how to handle a weapon, but it was his son, again named James Purdey, who truly began the Purdey gunsmithing tradition when, at the age of fourteen, he apprenticed with his brother-in-law, gunmaker Thomas Keck Hutchinson.

The guns of the day were in many cases more function than form and used flintlock firing mechanisms, but the young master Purdey was intent on accumulating as much knowledge on every aspect of the production process as possible — even learning to forge Damascus barrels out of nails and old horseshoes, as it was believed that the weight of the horses on the metal of their shoes made for stronger steels.

Completing his apprenticeship in 1805, James Purdey had become a young master of the craft, and quickly took up a position at the workshop of Joseph Manton, London’s premiere smith – a man with the foresight to change the sporting gun entirely from an object of function to one of form. James Purdey was later to say: “but for him we should all have been a parcel of blacksmiths”.

Rising through the ranks at Manton, James left after three years, moving to Forsyth at 10, Piccadilly. Forsyth had invented a new kind of lock, which worked by detonation. James was to spend the next four years there, as stocker and lock-filer.

In 1814 James had learned all there was to learn and established his own firm. He opened for business at 4 Princes Street, in

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a modest shop off Leicester Square, building single and double flintlock guns, duelling pistols, and rifles.

From the off, Purdey’s business thrived.

His reputation, established at Manton’s and Forsyth’s, meant he attracted a discerning clientele and specialised in ‘best’ bespoke guns. With success came expansion and on the 1 st of August 1826, James took charge of 314 ½ Oxford Street, the premises of his former master, Manton - the most famous gun shop in London, supplying orders to everyone from English aristocracy to Indian princes.

The Purdey name was now in the upper echelons of London gunmaking, but a shift was about to occur in worldwide gun-culture and technological innovations to loading and firing mechanisms were to change the business as it passed down to the next generation. James Purdey the younger, son of the company founder, was to preside over this shift. He too had apprenticed as a fourteenyear-old and was a master smith in his own right by the time he took over the prospering business in 1858 and saw muzzle loading

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flintlocks, popular in the decade of his birth, replaced by breech loading, hammerless ejectors. But the technological shift did not affect the business. Purdey adapted to the changes and became synonymous with innovation as much as tradition.

In 1879, Frederick Beesley, a Purdey stocker, invented the self-opening system that uses the residual energy of the mainspring to open the gun and eject the spent cartridges. Patented the following year, he immediately sold the invention to Purdey; and their side-by-side hammerless guns and rifles have been built on the action ever since. The Beesley self-opening system was patented in 1880, and has been used in the company ever since.

Throughout the late Victorian and Edwardian periods, Purdey thrived under the guidance of James the Younger’s son Athol, and on his retirement in 1929, continued to do so under grandchildren James and Tom. This was to be the company’s most tumultuous time – riding high in the pre-war era, assisting in the war effort for both the first and second world wars, and riding out the downturn that

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occurred after the impact of two desperately tragic wars hit home.

The bleak prospects forced Tom and James Purdey to sell their shares in their family firm, ending the Purdey association with the brand that bears their name. From the years between 1957 and 1994, James Purdey & Sons was in the hands of the Seely and Beaumont families. The Beaumonts in particular made great strides in securing the brand’s future and in 1994 the company was sold to the Richemont group.

Athol’s grandson Richard was made chairman of the company in that same year, bringing the family connection back to the brand, however Nigel Beaumont has since become chairman in 2007.

Today the company is thriving, with a range of products directly related to shooting, clothing, accessories and leather products, but with their sight still firmly set on passing on the gunsmithing tradition to the next generation of “best” gun makers.

Purdey gun owners become part of an elite fraternity, sharing in the brand’s illustrious gun-producing heritage.

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THROUGH THE AGES

Cent’anni!

AFTER A CENTURY IN THE AUTOMOTIVE INDUSTRY SHAPED BY A DETERMINED SPIRIT AND DISTINCTIVE CHARACTER, MASERATI HAS BROUGHT ABOUT SOME MEMORABLE ACHIEVEMENTS IN SPORTS CAR CULTURE.

1914-1919 The Maserati brothers - Alfieri, Ettore and Ernesto, set out to establish the “Società Anonima Officine Alfieri Maserati”, a car garage with an attached workshop at No.1 via de’ Pepoli, Bologna, Italy. Five months later, Italy is at war and the Maserati brothers are conscripted but remain well behind the battle lines. Alfieri designs special spark plugs for aircraft engines under the company name Trucco & Maserati.

1920 Alfieri commissions his brother Mario, an artist and the only sibling who has nothing to do with engines, to design the logo of the company. Mario chooses to use one of the most characteristic symbols of Bologna – the trident from the statue of Neptune in Piazza Maggiore, a symbol of strength and vigour. The colour scheme he selects is red and blue as they appear in the banner of the city.

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1921-1926 Alfieri Maserati tries his hand at racing, winning his first competition in 1921 behind the wheel of the Isotta Frascini Special. A year later the Maserati brothers begin working with the Diatto company of Turin. By the end of this partnership in 1925, the brothers can afford to buy ten Diatto 30 Sport chassis to be developed under their own brand. This marks the beginning of cars sporting the Maserati logo with the Type 26 being the first model. The car is an evolution of the Diatto GP 8C turbo and is named after the year of its racing debut. After winning the speed kilometre race of Bologna, the company increases production and begins to sell the Type 26 to private owners.

1930 At the Tripoli Grand Prix, Maserati records its first international victory.

The same year sees Alfieri Maserati and Enzo Ferrari officially go headto-head for the first time at the Italian Grand Prix in Monza: Maserati dominates the race and is the only constructer on the winner’s podium.

The head of the Italian government gives Alfieri the title of Cavaliere – the Italian version of a knighthood. In the meantime, the production of racecars increases to twelve finished vehicles.

1932-1939 In 1932, Alfieri dies during surgery following his serious accident during a race in Sicily. Another of the Maserati brothers, Bindo leaves his post at Isotta Fraschini and joins his brothers at the Maserati garage. He is appointed chairman of the company. In 1937 the brothers sell the entire company to famous Italian entrepreneur, Adolfo Orsi. However, Orsi doesn’t interfere in the technical side of the business and the Maserati brothers continue working in two separate divisions of the company: Officine Alfieri Maserati, for the production of race cars and Fabbrica Candele Maserati, for the manufacture of spark plugs. The first production of the Orsi-Maserati era is unveiled in 1938 – the 8-cylinder, fixed head vehcile wins in Indianapolis 500 for two years running.

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THROUGH THE AGES

1940-1945 By the outbreak of the Second World War, Maserati leaves Bologna for Modena. The factory opens in Viale Ciro Menotti, an address that becomes synonymous with the world of automobiles. Because of the war the production of racecars is scaled back and the company concentrates on producing spark plugs and items critical to the war effort.

1946 Maserati’s victory at the Gran Premio of Nizza in 1946 is a symbolic moment for the brand as it marks the beginning of its post-war era. At the Turin Motor Show the company exhibits the A6 1500, a model that can be considered the first Maserati produced for daily use and not for racing. Simply christened ‘A6’ – A in honour of Alfieri and six denoting the number of cylinders, the model is styled by renowned designer Battista Farina, known better by his corporate pseudonym Pininfarina. Meantime, Ernesto, Ettore and Bindo decide to leave Orsi and return to Bologna, opening a new company Osca, where they dedicate themselves exclusively to the design, development and construction of racecars.

1953-1954 In 1953 Adolfo Orsi divides the management of his companies between the family members: for himself and his son Omar he keeps the Officine Alfieri Maserati, which includes the production of cars and machine tools. In 1954 with the changes in the rules of the World Championship, the Formula 1 as we now know it, is born. Maserati enters the race as a protagonist with the 250F and debuts with an immediate victory.

Juan Manuel Fangio

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1956-1957 Formula 1 becomes a duel between the rivals from Modena: Ferrari and Maserati. The city is divided, half rooting for one team and half for the other.

In 1957 Maserati starts to concentrate exclusively on the automobile sector and soon transforms itself into one of the most prestigious car manufacturers in the world. The same year El Maestro, Juan Manuel Fangio leaves Ferrari and joins Maserati for the second time. He wins four of the eight GP’s needed to gain the world title: Argentina, Monaco, France and Germany. The extraordinary Argentinean pilot becomes the world champion for the fifth and final time.

1960-1961 The ‘White Dame,’ as the first prototype of the 3500 GT is called, is Maserati’s answer to the car market during the economical boom years. The company also introduces the GTI, famous for being the first car with direct injection in Italy. The Shah of Persia is impressed by the White Dame and asks for something even more exclusive. The famous engineer Giulio Alfieri takes up the challenge and puts the 8-cylinder of the 450 S into a GranTurismo. The ‘Shah of Persia’ is still considered to be one of the finest models by collectors and car historians. It has a gold and precious wood finishes and is the most exclusive and luxurious car in the world at the time.

The year 1960 also sees the birth of the legendary Type 60 racecar.

Known by its nickname ‘the Birdcage,’ the car doesn’t appear in official races under the Maserati name, but is given to some of the most prestigious racing teams, gaining the two consecutive wins in 1960 and 1961 at the 1,000 kilometre Nürburgring, as well as other important victories in the USA.

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THROUGH THE AGES

1963-1964 The Mistral is presented at the Turin Motor Show in 1963 and production of the coupé and spyder versions begin a year later. At the same show, Maserati shocks the auto world with the introduction of the Quattroporte — its first sedan model and the fastest car within its segment. As Maserati’s new flagship, it carries all the traits of the brand we know today – elegance, sportiness, power, and luxury, all of which in a four door model. The design project is a joint effort by engineers Alfieri and Pietro Frua.

1963 Maserati Quattroporte

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1963 Maserati Mistral

The Sebring is the evolution of the 3500 GT and debuts in 1965. It is named after the Florida autodrome where Juan Manuel Fangio won the 12 hour endurance race title in 1957.

Maserati starts to become famous for its collaboration with well-known Italian designer, Giorgetto Giugiaro. His first project, the 8-cylinder Ghibli, debuts at the Turin Auto Show in 1966 and is an immediate success. The car stays in production until the end of 1972 with a total of 1295 of these models made, both in the spyder and coupé versions.

1970s Giorgetto Giugiaro creates a new masterpiece: the Bora. This extraordinary coupé brings back the disappearing front headlight of the Ghibli but has a much sportier feel, with the rear mounted engine in the centre. Next year Giugiaro presents a futuristic looking coupé called the Boomerang. Although never put into production, it is still considered to be one of the most celebrated concept cars he ever made.

In 1976, the head of the Italian State Sandro Pertini, chooses the Quattroporte Royale as his official car and it remains such until 1985. On his visit to Maranello, Enzo Ferrari famously refuses to go and meet the presidential Maserati upon its arrival.

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Maserati Boomerang concept

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1980s During the 80s the Maserati Quattroporte features in a number of iconic films: ‘Rocky lll’ directed by Sylvester Stallone, ‘The Fly’ and ‘The Dead Zone’ directed by David Cronenberg.

The first Biturbo sedans launch on the 14th of December 1981, the date on which the Maserati company was founded in 1914. The car with 6-cylinder engine can power up to 215 km/h and is the most widely produced Maserati of all time, with 37,000 models manufactured between 1982 and 1993.

1990s For Maserati the future gets bright when, in 1993 it is acquired by the Fiat Group. The company is headed up by Luca di Montezemolo, president and CEO of Ferrari. The final buyout of Maserati by Ferrari takes place in two stages with initial stake purchased in 1997 and 100 per cent of the company acquired in 1999. The partnership between the two most famous car manufacturers in Modena becomes even more famous than their old rivalry.

The first contribution of the Ferrari management is to upgrade the 3200 GT with an engine produced in Maranello. From this revolutionary idea the Spyder is born, the car that marks the return of Maserati to the United States.

2004 In 2004 Maserati also returns to winning ways on the track thanks to an extraordinary racecar, the MC12. Designed

by Giorgetto Giugiaro and Frank Stevenson, this supercar is developed for the track by Giorgo Ascanelli and manages to accumulate an impressive haul of trophies. Maserati’s participation in the FIA GT from 2005 to 2010 is crowned with fourteen titles and nineteen victories.

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THROUGH THE AGES

2007 After the release of the first GranTurismo almost half a century ago, Pininfarina returns to the company in 2007 to create the new Quattroporte, a car which has always held a special place in the history of the brand. The arrival of the Quattroporte completes the Maserati range and significantly increases sales.

After Sandro Pertini, another Italian president, Carlo Azeglio Campi, chooses the model as his official state car. The same year Pininfarina designs a new coupé, incredibly beautiful GranTurismo.

2014 Maserati Quattroporte

2013 The year sees the new Maserati Quattroporte released with its unmistakable, timeless silhouette. Reworked with an extremely modern approach, it is generously sized with a streamlined, dynamic look.

2014 100 years since its inception, Maserati is planning a series of activities to celebrate its centenary. The official Maserati gathering in Modena will see 250 Maserati models come together from all over the world. Late in the year, Modena will play host to an extraordinary exhibition of some of the most evocative models of the history of the company. The Museo Casa Enzo Ferrari will also be showing a special display of Maserati’s iconic models, both passenger and race cars that true fans of the trident brand should be sure not to miss.

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GOLDEN ERA

Democratising fashion THE 1950 s WERE THE GENESIS OF MEN’S CONSUMER FASHIONS, AND THE BEGINNING OF MODERN-DAY MAN’S SARTORIAL JOURNEY.

“To adapt a phrase from Le Corbusier, the suit is a machine for living in, close-fitting but comfortable armour, constantly revised and reinvented to be, literally, well suited for modern daily life.”

The 1950s were a time where, fedoras or derby-type hats. They were seen as post-war, the world settled down and took a social requirement when it came to business peace and prosperity as a serious priority. This or formal dress. mind-set of focus and business-like attitude When men were not at work they wore reflected in the fashions of this decade, and polo shirts and button ups. Even during leisure timeless and classical suits with elegant time collared shirts were the standard choice silhouettes were the norm, considered typical – the age of the t-shirt being seen as anything daywear. This was also the period in which the other than an undergarment was still some ten male fashion icon came to the fore, with stars years away. of the silver screen championing a refined, But while it was the end of one war that new masculine style. dictated the mode of dressing, it was the The generation of older men, who had emergence of the Cold War that began to experienced the depression and the sufferings inform its stylistic direction, defining attitudes of two world wars, leaned towards traditional and fashion trends in the Western world.

C A L LY B L A C K M A N values and the safety of conservatism. The Fashion became reflexive to the political “man in the grey flannel suit” became a known and social climate of the time. In the Soviet archetype of the decade and served as the Union, clothes were being used as a tool of sartorial shorthand for prosperous and elegant gentlemen. ideological control by the government. Conservative and uniformThe expectation of the time dictated that being sartorially correct like dressing styles were used to manipulate attitudes among the was the key to success. Attire consisted of simple and clean suits population. Even working-class, blue-collar clothes like blue jeans with more narrow shoulders, however the trousers remained mostly were regarded as the ultimate symbol of “bourgeois decadence,” unchanged. They were cut fuller around the leg and featured one and subsequently outlawed. or two pleats in the front. The colour palette was relatively muted The reaction in the West to the austere images of communist with conventional brown, grey, and black being the standard hue oppression of the individual was a wave of capitalist idealism enacted selection. The “American suit” was usually charcoal grey, singlethrough rampant consumerism and expressions of personality breasted with two or three widely spaced buttons, un-waisted with through fashion. The styles towards the end of the decade had no back vent. The ties were also uniform and dark. become looser and reflected a personal distinctiveness to suit, Another staple of the 1950s businessman was the hat. No igniting a new wave of fashion conversation, and underlining men’s outfit was considered complete without one and these were usually style for the rest of the 20th century.

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TIME KEEPERS

Time keepers The headquarters of IWC Schaffhausen offers visitors the chance

to get up close and personal with the finest watches to have come out of the illustrious maker.

IWC Schaffhausen has been producing fine watches that have captured the imagination of the public for more than 140 years. Its watchmaking heritage was established in 1874 when an American watchmaker by the name of Florentine Ariosto Jones, founded the first and only watchmaking company in north-eastern Switzerland. Florentine began working as a traditional watchmaker in Schaffhausen – a region at this time, which was in its economic ascendancy. Gradually he began training employees with an aptitude for the craft.

His enterprise, with its unusual English name of International Watch Company and better known as IWC, grew rapidly, and soon it had an exclusive sales office in New York.

When his first workshop became too small for

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the growing business, Jones decided to build his own factory. Standing on the site of the former orchard of the All Saints monastery in Schaffhausen, the main body of what was and still is the IWC headquarters was constructed and its key location on the banks of the Rhine made it a trendsetting business that championed quality and unmistakable, universally appealing design from the outset.

It is IWC’s cherished legacy of making masterful timepieces of the highest order that demanded concerted efforts to protect and preserve – something that the company has taken exceptionally seriously. To catalogue their specific custom of watchmaking as best they can, IWC’s global headquarters in Switzerland has had a museum added and it is home to a huge selection of its most

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prized timepieces on permanent display to the public. Opened in 1993, on the occasion of the company’s 125th anniversary, IWC became Switzerland’s first watch manufacturer with such a facility. The archive was enhanced and expanded in 2007 with a newly designed museum on the converted ground floor of the main building which now houses over 230 exhibits, all of which are showcased in beautifully lit display cabinets.

It offers a comprehensive look at the IWC approach to horology.

There are two basic conceptual ideas behind the interior design of the museum.

Firstly, the similarity between the building’s structure and the layout of the exhibition; and secondly, the way in which the materials intrinsic to IWC’s corporate identity have

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Historical pieces from the museum’s archives are displayed alongside timepieces from the most important collections from IWC’s illustrious past.

been adapted to the premises’ unique location. The overall impression is that of a modern gentlemen’s club for the engineers from Schaffhausen.

The new home of IWC watches represents the world of an international luxury brand: together with the objects on display, it creates surroundings that are at once modern yet timeless, luxurious yet functional; the carefully selected items bear witness to a manufacturer of impeccable skill.

The west wing of the museum takes visitors on a journey through the history of innovation of the firm, with the legendary Jones calibres — named for the company founder from the period of its inception.

For the first time, the Jones movements in their various qualities are clearly presented.

The post-Jones period, with the famous 52 calibre, for example, is also documented. To make more room for the development of the calibres, there has been a slight reduction in the number of pocket watches with digital displays. As a result, there will be fewer cases containing marksman and dress watches,

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and a shift in emphasis to the quality of IWC movements.

A couple of other notable exhibitions and displays in the west wing of the museum include the “Cultural values” display which charts artistic and innovative case decorations, various marksman watches which have been stamped and engraved to reflect their era, “Rare pieces of the rich and beautiful”, a collection of monograms, dedications, crests, Art Nouveau and Art Deco dress watches as well as magnificent hand-engraved watches in heavy gold, and “Conquering the skies and the oceans” which is an exhibition that looks at IWC’s early focus on technically specialised watches from the deck watch via the Big Pilot’s Watch to the Mark 11 for the Royal Air Force.

Highlights of the wristwatch display are the Albert Pellaton anniversary watch, the so-called “club watches”, and new models in the Porsche Design family, highlighting the company’s ingenuity when it comes to wristwatch technology and design.

In the east wing, there are showcases

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for the individual watch families, like the Portuguese and the Portofino collections, which are accompanied by additional exhibits including two of the 94 ledgers that provide complete information about every IWC watch made since 1885: its calibre, case material, date of delivery and name of the recipient.

Visitors can also trace the genealogy of the individual IWC watch families.

The facility also stages a variety of special exhibitions at the museum with retrospectives complemented by original documentation from IWC’s own archives: watch catalogues from 1900, historic machining tools, spare parts and technical drawings, contracts and records.

Currently, the museum is playing host to a small exhibition about the famed 1943 children’s book ‘The Little Prince’, displaying an original copy of the book alongside its new Mark XVII Pilot’s Watch – a tribute to the literary work. Also later this year, IWC will play host to a special Aquamaster exhibition, showcasing timepieces inspired by the exploits of Charles Darwin.

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La Dolce Vita

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THE JEWEL OF THE NILE

The jewel of the Nile THE MAGNIFICENT, ROMANTIC AND HISTORICAL UPPER REACHES OF THE RIVER NILE ARE NEVER MORE SUBLIME THAN WHEN TAKEN IN FROM THE DECK OF THE SS SUDAN - A BOAT, PLUCKED STRAIGHT FROM THE BYGONE AGE OF STEAM AND ADVENTURE.

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FRANCESCA FOLEY

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A boat with a story as fascinating as the river on which it sails - the SS Sudan

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The Valley of the Kings

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Egypt is a very special place indeed. Witnessing the story of humanity play out in all its magnificent, rich, ingenious and intrepid glory, it has, like amber, captured and preserved glimpses of days long passed – a window through which almost the entire gamut of human civilisation can be seen. From the relics of the Pharoahic age, to early Islam, Christianity, and Judaism, to the discoveries and subsequent pillage that came with the colonial era, she proudly wears the marks of each epoch as they have passed over its arid and uniquely spectacular landscapes. For the intrepid among you, this glorious spectrum of history is still within view.

Now I know what you’re thinking – “Egypt isn’t safe just now”.

True, Cairo may currently be somewhat off limits for those that err on the side of caution, but Egypt is still very much open to visitors on a wider scale – and, the wonders of Giza and the Pyramids aside, Cairo is somewhat less scenic than other parts of the country. However, the upper Nile stretching from the city of Luxor up to the Asouan dam on the banks of the magnificent lake Nasser and a stones throw from the Sudanese border, is home to temples, artefacts and tombs the likes of which should not be missed. Visiting the upper Nile is about getting face-to-face and nose-to-nose with history – not simply looking at priceless objects behind fingerprint-smeared glass.

The perfect opportunity to take in the sights of the great river itself in high style is to partake of a Nile cruise. I am no advocate of cruise ship travel, but sailing up the banks of the river is as unique and as perfect a mode of transport for this specific journey as you can get. Of all the myriad Nile cruises on offer (for there are many), there is no more authentic mode of transportation in which to walk in the footsteps of Pharoahs and explorers alike, than on the SS Sudan paddle steamer – a relic of a bygone age that promises a sumptuous, grand and anachronistic adventure.

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The restored mahogany deck of the SS Sudan offers the perfect vantage point from which to absorb the transformative power of the Nile. The banks of the river are verdant and lush - a stark contrast to the sand and rock that lie just beyond its reach.

The boat itself is steeped in history. Given as a gift to the King of Egypt and Sudan (hence the name) in 1885, the boat became the epicentre of the glamorous early Nile Cruise scene operating between Luxor and Asouan. Purchased in the 1920s by the illustrious Thomas Cook, founder of the eponymous British tour operator, the boat became infamous for its lavish, colonial style and as the tour industry to Egypt thrived, so too did the boat’s fame. Agatha Christie herself, while participating in her own archaeological adventure, stayed on the SS Sudan and was so inspired that she wrote ‘Death on the Nile’ starring her famous leading man, Hercule Poirot.

Sadly though, the opulence of that age was brought to an abrupt end by the advent of the Second World War. The cruise industry declined and The SS Sudan was retired to dry dock, left to wither away in the heat and dust for over 50 years. The day was saved in 2000 when the abandoned boat was rediscovered in a state of total dilapidation. Thanks to the care of its owner and some shrewd investment, it was made ready to sail and in 2006, the boat was fully and beautifully restored to once again patrol the Nile that it had come to be so synonymous with.

Today it is a place where the belle époque lives on, from the high sheen of the polished floors to the muslin drapes and brass fittings, the boat is a beautiful reminder of an age long since passed. The boat feels its age thanks to its sympathetic restoration – its floors still somewhat incline and the varnish on the wood panelling has the sort of patina that only comes with use, however it still provides high-end service with plenty of creature comforts and mod cons.

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Sitting on the mahogany clad decks with the requisite libation in hand, it is clear that there is no better way in which to thoroughly absorb this cradle of human civilisation as it meanders past. The boat itself resonates with history.

Stepping onto the SS Sudan is akin to a gentle step back in time.

The lounge bar is full of carved woodwork, highly polished copper fittings and furniture in the Edwardian style. It is decorated with images of those who made their own marks on Egypt’s history, such as the legendary King Farouk, and the decks are covered in colonial style wicker furniture.

The restaurant too has retained its sense of charm and guests can enjoy authentic gourmet Egyptian cuisine served with all the grandeur of a high end Parisian restaurant.

There are a total of twenty one cabins and suites on board, including four “privilege” rooms and for a more palatial experience, a royal suite.

All suites have been fitted with spacious and comfortable bathrooms.

The Sudan offers two distinct packages for its cruises with one heading upriver and the other down. Paddling along its old stomping grounds, gently and elegantly cruising to the far flung reaches of the upper Nile, the Sudan sails between the temples of Luxor, Karnak, Esna, Edfou, Kom Ombo, and Assouan, providing ready access to beautifully preserved relics, archaeological sites and tombs.

The boat’s history is intertwined with Egypt’s as much as the Nile itself and as long as there are still people with an adventurous spirit and an eye for the finer things in life, the Steam Ship Sudan should sail on for many more years to come.

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MAGNIFICENT RELICS Egypt’s spectacular monuments remain a testament to the genius of the Pharoahic age. Temple relics and tombs are open to the public and visitors can get up close and personal with thousands of years of ancient civilisation.

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Traditional Egyptian boats called Feluccas punctuate the surrounding scenery.

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TA K I N G W I N G

Taking wing Wing walking evokes images of a bygone era of glamour and showbiz.

Thanks to a few diehard fans, the show goes on and you too can learn how to be the star attraction in your own flying circus.

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Breitling’s death defying wing walkers show their mettle during their performance at the Bahrain international Airshow.

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TA K I N G W I N G

At one time, before the term “extreme sports” was coined, there were feats of athletic bravery performed not by sportsmen or athletes, but by daredevils – people who lived on the extreme edge of what was technologically and imaginably possible, simply striving to entertain and to push boundaries. Among the earliest breed of daredevils were the wing walkers – fearless individuals who, for reasons known only to themselves, decided to strap themselves to the top set of bi-plane’s wood and linen swaddled wings and go along for the ride – twisting turning and flying with effortless grace that belied the sheer magnitude of what they were undertaking.

The story of wing walking is tied into the early history of modern aviation. During the First World War, planes had gone from a mere mode of conveyance to a standardised weapon capable of dogfight and bombing raid. With the galloping strides made in aircraft development came a rapid improvement of flying skills and by the end of the war, pilots had not only learned how to handle their machines, but had come to master aerobatics as planes became faster and more manoeuvrable. But after the war wound down, there was soon a surplus of fighter planes. These were snapped up for very little by intrepid pilots who sought to put them to a more peaceable and entertaining use.

Air shows known as flying circuses became fixtures on the social calendar and the public could spend a few pennies to be taken up for the joyride of their lives.

Remember, flying at this stage was a very new concept and it was a rarity for anyone to get airborne. The shows put on displays of terrifying loops and rolls and tricks like flying upside down, thrilling crowds and inspiring a new generation of future airmen.

But simply flying with skill wasn’t enough – there were boundaries to be pushed and one man took on the greatest aeronautical challenge. In 1918 an American flier called Ormer Locklear climbed out of the cockpit of his aeroplane mid-flight and walked along the wing, thrilling audiences. Apparently Locklear first clambered out of the cockpit to fix a technical problem while training during the war, but performing in front of the public, he became a star attraction. Pretty soon you couldn’t operate a flying circus that didn’t

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have a wing walking act and Locklear was soon joined by numerous other daredevils including the wonderfully named Ethal Dare, the world’s first female wing walk who, like Locklear, would walk the wings and even jump from one plane to another. What made this all the more thrilling was that these heroes of aviation were operating without a safety net: no parachutes and no safety wires tethering them to the aircraft.

Air shows like this were the height of the entertainment industry for over a decade, but by the 1940s the public’s interest had begun to wane as flight became more commonplace and technology had become more sophisticated, focusing on speed and space, and the glamour had gone out of the flying circus somewhat.

But for a few diehard aviators, wing walking was not a pastime they were prepared to leave behind as a relic of the ‘glory days’.

Up until the 1970s, a few keen parties still participated in aerobatic display teams but it was frustrated barnstormer Vic Norman, founder of the famous AeroSuperBatics wing walking team in the early 1980s, that relaunched wing walking to a new, modern audience. With their Boeing biplanes, the team has recaptured the glamour, spectacle, sounds and atmosphere of that golden era and have been touring the world showcasing their prowess in the skies. Sponsored by Breitling, the team recently attended the Bahrain international air show, where their all-female wing walking team wowed the crowds in spectacular fashion.

If this tale of daring-do has whetted your appetite for classic aviation at its finest, it is noteworthy that for those with a hunger for the extreme, it is possible to be trained in the supremely impressive art at AeroSuperBatics’ UK headquarters in Cirencester. The Breitling girls who perform over 100 wing walks per year at air shows across the world are on hand to provide training in one of the more viscerally thrilling experiences humanly imaginable, so you too can fly on the wing of one of the beautiful biplanes, operated by one of the Breitling display pilots in an unforgettable, adrenaline filled day. Flying at speeds of over 200 km/h, your wing walking display can incorporate steep dips and climbs tailored to your daredevil tendencies.

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A LT E R N AT I V E V I S I O N

Alternative vision

Dubai’s Italian cuisine offering gets a new champion in the shape of Michelin starred chef Claudio Melis, who brings the cuisine of northern Italy to a new 50 th floor home in Dubai’s Jumeirah Emirates Towers.

Dubai’s food scene is the definition of culinary diversity. From Mongolian barbeque to American crab shack, the entire gamut of global cuisine is not only represented in malls and hotels nationwide, but are exemplified by their quality. Arguably one of the most popular fares is of course Italian and there are more pizzerias, trattorias and cucinas in Dubai than you can shake a large, pointy stick at. So how does a new Italian venue really stand out in a supremely crowded market where only the best will do? Simply, it does it better and more authentically than any other. This is what Alta Badia aims for – authentic, real Italian soul food that speaks to the heart as well as the stomach.

When asked about what makes Alta Badia unique, Michelin starred Claudio Melis - Chef Patron of Alta Badia highlights a combination of reasons. “Our exclusive location gives us a great forum in which to cook and makes for a great experience for our customers. Most of my team hails from Italy, as do the vast majority of the products we use in our menu, giving us a strong Italian identity. Also, Alta Badia is one of the few restaurants in Dubai with a Chef Patron to guide and shape the restaurant’s character.”

Melis hails from the same region of northern Italy in the heart of the Dolomite mountain range from which the restaurant takes its name, and it is his native region that has inspired the menu at the Jumeirah Emirates Towers venue. The Alta Badia region’s traditional cuisine, known as Ladin, is renowned for its simplicity in preparation and use of the finest and freshest ingredients

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available. It is typified by a humble and wholesome cooking style. But it is a style that has been elevated and enhanced to the Michelin star level by Melis and his team of gastronomic wizards.

However, the menu doesn’t simply focus

Claudio Melis

on northern Italian gastronomy at Alta Badia.

While Melis does take inspiration from his home, it is the Ladin style’s approach to seasonality and ingredients that most impact the dishes available. The restaurant takes pride in the freshness and genuineness of its offerings, bringing a new take on the entire

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gamut of Italian cuisine.

“We use our menu to tour Italy, exploring classic dishes, but with a personal touch. What makes us different is that we create contemporary, creative versions of traditional tastes,” explains Melis. “I source as many ingredients from Italy as I can to maintain authenticity, as the quality of local ingredients don’t yet compare up with what is available there.”

The setting for this classic yet inventive restaurant is the 50th floor of the Jumeirah Emirates Towers hotel, one of the city’s premier addresses. Its dining room is an elegant yet not overly formal eatery, where premium service in a casual surrounding pairs with its honest Italian fare, yet with a uniqueness that is unmatched in the region.

“We serve dishes that cannot be found elsewhere” explains Melis. “We have items such as homemade tuna in olive oil, oxtail ravioli and farina di grano arso tagliatelle, which is made with a special type of burnt flour only used in Italy. We also offer a unique slow cooked lamb shoulder that is cooked for 36 hours at a temperature of 65° Celsius.

To finish, we prepare a simple Tiramisu – that isn’t so simple because it is made without gelatin or cream making it an exceptionally light way to end the meal.”

Claudio’s dedication to his cuisine is unsurpassed and it’s his love of Dubai and his determination to never compromise on the quality of food and beverage that makes it clear why Alta Badia’s reputation among those in the know continues to grow.

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T H E P E R F E C T C O M PA N I O N

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THE PERFECT COMPANION Staying at a hotel, whether your trip is filled with meetings or museums, should

offer a place to escape. While there is nothing more comforting than sleeping in your own bed, unfamiliar walls can be made cozy with these travel items that will offer a little slice of home.

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T H E P E R F E C T C O M PA N I O N

While the word travel is, as a rule, sleep, as it can never be adjusted to your OTIS BATTERBEE associated with excitement and collecting bedtime habits. Created with travel in mind happy memories, the whole process of and filled with sleep inducing lavender, English designer Otis Batterbee founded his eponymous label in 2008 packing and unpacking, being jet-lagged Otis Batterbee’s Prince of Wales eye mask and since then creating the range of after the long flight and getting acquainted completely blocks out the light and helps handmade smart travel accessories with a new location and unfamiliar faces you sleep tight, no matter where you are has become the inseparable part of the brand’s identity. Using only the can all take its toll on ones mental acuity in the world. This luxury eye mask has finest woollen suiting fabrics, superior and physical health. The best hotels of the a burgundy velvet backing and features brass zippers, waxed canvases and world are well aware of the stressful nature the brand’s signature brown satin binding cotton lawns, all Otis Batterbee collections are designed in London of travel, transferring their rooms into together with an elasticated velvet strap. and manufactured at the best weaving homey sanctuaries by adding warm colours Paired with the Otis Batterbee’s stylish and mills in Yorkshire and Lancashire. and green plants to the interior, or even practical travel pillow, the eye mask can putting an iPod dock on the bedside table offer that extra comfort much needed for a for a guest to enjoy his own music. person in unfamiliar surroundings.

However, making your own effort to transform a hotel room into Whether you travel for business or for pleasure, it is essential a relaxing haven is never a bad idea. It takes a certain amount of to start each day groomed to perfection and relying on the hotel thought and preparation to be able to jet off with ease and style and toiletries is nothing but a frivolity. For a seasoned traveller a portable British luxury brand Otis Batterbee is there to help you with this task. wash bag filled with all necessary shower and shaving gear is an The brand produces travel accessories cut out for a globetrotting absolute must. The Large Grand Tour wash bag from Batterbee is gent, designed to make travel just that little bit easier. made of water-repellent waxed canvas to ensure that your products No matter how luxurious and multi-functional a hotel room is, are secure at all times. The bag is assembled on gold, waxed canvas its main purpose is to help you accumulate much-needed energy with a contrasting green petersham band and has a large main after a tiring day and guarantee a good night’s sleep. On the other compartment with two internal side pockets. hand, even the most comfortable hotel bed can compromise your Being refreshed and groomed is one thing that will help you feel

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more at ease, but having neat and tidy luggage will give you a sense of personal control. It is no secret that the messier your belongings are, higher is the risk that you are going to leave behind some important possessions while rushing to a checkpoint in the morning.

Batterbee travel pouches help to carry all travelling essentials.

With space for passport, boarding pass, cash, keys, sunglasses,

and perhaps a good book in a single place, travelling will make you feel safe and secure. The quilted suede interior of the pouch offers protection for electrical items and valuables and features a sturdy brass zipper. Also, the brand’s travel case or coin purse can take care of your gadgets, ensuring that all the adapters, cables and wires will no longer get out of control.

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PA L AT I A L P O L O

Palatial Polo Polo is an ancient game that has maintained a foothold in the upper echelons of society. Nowhere is this more evident than at Le Polo Club du Domaine de Chantilly where beautiful landscape and sports prowess merge into one seamlessly beautiful locale. The club has also taken its adventurous spirit to the desert with a race this month through the Omani dunes.

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PA L AT I A L P O L O

The grounds of Le Polo Club du Domaine de Chantilly offer a unique perspective from which to view the area’s stunning countryside and prestigious architecture, particularly the beautiful Chantilly Castle.

Polo is regarded as the pinnacle of equestrian sporting prowess. The ability to gallop at break-neck speed with one hand and simultaneously jostle for possession of a ball while thrashing it towards the goal is one of the more impressive and difficult skills to master. The sport has for over 2,000 years celebrated the relationship between man and horse. The unique blending of athletic talents between horse and rider helped polo evolve into The Sport of Kings. Records suggest that polo became a well-established sport covering a wide range of territories from Constantinople to Baghdad, from Persia to China and Japan.

The area was so vast that historians have been unable to establish where the sport originated or whom to credit for its invention. What is more certain is polo was likely introduced to India from Persia by the invaders in the 13th century where it thrived for hundreds of years. It was the British occupation of India in the mid-1900s that the British colonialists came across polo for the first time. Taking it to their hearts, they set about establishing the game among the European upper classes where it quickly found favour.

The sport has made its home in far flung corners of the world, but is perhaps most popular and celebrated in Europe where it has become a de-facto sport of royalty and the upper classes, perhaps because of the difficulty and expense in owning a premium polo pony upon which to play the game. Polo is a thrilling spectacle to watch and gives a unique look at an ancient pastime that has been fostered and adopted into the present day and clubs across Europe offer beautiful locations from which to admire the players of this great game.

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One such facility is the Polo Club du Domaine de Chantilly.

Located in a large clearing in one of the royal forests surrounding Paris, a stone’s throw from Chantilly Castle and forty minutes from the Eiffel tower, the club offers amenities for amateur riders who want to improve their skillset, and world-class facilities for top-level competitions. Located on 205 hectares, the outstanding infrastructure services several hundred horses and the club has played host to the both the World championships and the European championships.

Baron de Rothschild organised the first match on the grounds where the current club stands in 1920. Since then the club has been integrated seamlessly into the heart of the domain forest of Chantilly castle and continues to offer a stunning backdrop in which to learn and watch the equestrian arts. There are also polo clinics available for those who wish to learn or brush up on their skills at one of Europe’s best-respected establishments.

While generations have come to enjoy the facilities, it is also the club’s stunning aspect and location that is a major draw to the public and new members who can watch major tournaments as well as regularly organised matches of which there are over 500 per year. The club has adopted a strong philosophy for the highest level of sport with the all the pleasures of conviviality and passion. The sport and the club can be used as a pretext to discover the region. If you are an avid equestrian of all kinds and are planning to visit the place, it may be a good idea to schedule a tour of the training centre at the Chantilly racecourse as well as pay a visit to the castle grounds and its famous horse museum.

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PA L AT I A L P O L O

But if the beautiful and verdant landscapes of the Parisian outskirts are a little passé for you, the club is also involved in a most exotic and intriguing equestrian expedition in the deserts of Oman this February.

The Gallops of Oman offers a unique opportunity to discover the barren yet beautiful landscapes of the Omani desert on horseback in a five-day endurance expedition covering 180 kilometres in five stages which will lead the horseback riders in teams of five from the doors of the El Mintirib desert to the shores of the Arabian Sea. The challenge will be to not only manage one’s horse, but to learn to understand the desert and avoid its pitfalls.

The aim is to arrive at each point in a given time range. The horses lent by the organisation to the participants will be pure blood Arabians selected by the royal stables of the Sultan of Oman and are trained in endurance racing. They will be monitored by a veterinary team all along the trail, especially at the obligatory checkpoints on the way and examined at each campsite. To participate in this adventure, you must master the three gaits and be in good physical condition.

As is typical of Middle Eastern nations, Oman’s cultural identity is deeply linked with equestrianism. The event begins on the 16th of February and runs until the 21st and offers an unparalleled opportunity to discover the equine and touristic gems of the region. The expedition is to be led by experienced guide and trek organiser Bady Kebir and Benoit Perrier – manager of the Le Polo Club du Domaine de Chantilly.

The logistics of the event, such as the selection of horses, camping, transfers and security, will be in the capable hands of the Sultan’s Royal Cavalry! If you are less a horseman and more a horse fan, there are also tours and safaris available.

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We started it in the spirit of Paris-Dakar and we hope that it becomes an annual meeting of riders. It is this idea that enticed the Stables of Oman and the Sultan. To follow the lead of the Tour de France for bikers or Formula 1 for car fans, we hope that riders will finally have an event to celebrate the horse every year in Oman.

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B A DY K E B I R

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KING LEAR

King Lear LEARJET HAS BEEN CONSTANTLY AT THE TOP OF PRIVATE JET AVIONICS FOR YEARS, AND WITH ITS BIGGEST JET YET, THE COMPANY HAS NO PLANS TO GIVE UP ITS TITLE.

The Learjet 85 aircraft is a clean slate approach to aviation design from the craftsmen and women at Bombardier. The new jet introduces the next generation of performance, comfort and technology in an aircraft positioned between the midsize and super-midsize segments.

The Learjet is one of the highest ranking names in private aviation technology and the new Learjet 85 model maintains the brand’s position as a key player in personalised flying.

It has been designed from scratch using a true double-club arrangement as inspiration, and is notable for its large and spacious

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cabin, full of typical private jet styling – all champagne flutes and fine-quality leathers.

The cabin can accommodate up to eight passengers with an additional crew of two.

Though categorised as a midsize business jet, the Learjet 85 is in fact the largest Lear ever built and is made from carbon composite, increasing the strength of the fuselage.

The new aircraft features state-of-theart flight deck design and technologies led by the Rockwell Collins Pro Line Fusion avionics suite, with dual all-glass displays replacing traditional dials and gauges –

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keeping pilots dialled into up to the second data. Bombardier calls this the Vision Flight Deck cockpit.

The aircraft begin to roll out next year, and will be powered by two tail-mounted Pratt & Whitney PW307B turbofan engines, each delivering 6,100 pounds of thrust and providing optimum performance and operating economics while maintaining low noise and emission levels.

It boasts a range of 3,000 nautical miles, a maximum operating altitude of 14,935 metres and a top cruising speed of 871 km/h (Mach 0.82).

& LEARJET

WWW.SIGNEMAGAZINE.COM/WEBFEATURE/LEARJET

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