The Peninsula - Issue 4: 2019

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FROM THE CEO

I

am delighted to welcome you to the latest edition of The Peninsula magazine.

In this issue, we look back over the 60-year history of one of the most recognised and iconic cars ever produced– the Mini – a marque with which The Peninsula Hotels has a special relationship. When The Peninsula Hong Kong celebrated its 81st anniversary in 2009, the hotel added two special-edition MINI Cooper S Clubmans to its already world-famous vehicle fleet. This was the first time that MINI had custom-made a car, and they have since become a distinctive feature at most Peninsula properties around the world.

2019 also marked the 40th anniversary of the company of globally acclaimed lighting designer Tino Kwan, who over the years has created some spectacular work for a number of our hotels. We look back on the highlights of his career in the following pages.

2020 brings with it the 100th anniversary of the establishment of The Repulse Bay hotel, which opened on New Year’s Day 1920. In this issue, we recall part of the tremendous history of this wonderful property which still holds a special place in so many people’s hearts.

In other stories, we delve into the lives of a handful of people who call Hong Kong their home: Italian Enrico Gili who, whilst battling with Parkinson’s disease, has become an extremely talented photographer; Japanese-born Hiroyuki Yoshikawa, a creative talent who makes jeans from washi paper; and American Amanda Kralj who has chosen Hong Kong as the namesake and the location for her first venture into craft beverage making.

As always, I hope you will enjoy this issue of our magazine and I wish you a happy and prosperous new year.

With Best Wishes,

Clement K M Kwok Chief Executive Officer

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CONTENTS ISSUE 4: 2019

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FROM THE CEO CROWNING GLORY Hong Kong’s Liang Yi Museum is currently presenting Crowning Glory: The Beauty of Ladies' Ornaments from Asia and Europe, a landmark exhibition exploring the role that women’s clothing and accessories played in the social construction of gender and identity from the late imperial era in China and Japan to the early modern period. The aim of the exhibit is to provide an insightful view into the traditional and modern concept of female beauty in the East, and its dilution and evolution upon the introduction of Western notions, morals and ideas.

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A JOURNEY THROUGH TIME Lynn Fung is Director of the Liang Yi Museum and one half its namesake.

The Museum houses several permanent collections, including one of the world’s largest collections of Chinese antique furniture from the Ming and Qing Dynasties. The Peninsula talks to Fung about the missions of the Museum, its rare experiential approach, and her favourite museums in the world.

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360 DEGREES OF LIFE On any given night of the week, a solitary figure can often be seen in the environs of Hong Kong’s Wanchai district, capturing images of those that the city usually ignores under the cover of darkness. That solitary figure is Enrico Gili, and armed with his substantial photography equipment, he spends hours taking images of street sleepers, garbage collectors and others made anonymous by the obscurity, the same dark that in return allows him to practice his passion in the calm and quiet that his Parkinson’s disease demands.

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A STORIED HISTORY Time stands still at The Repulse Bay. Yet from its proud and serene Art Deco-inspired exterior, you would never guess that it has had such a colourful and storied history. On January 1, 2020 it will be 100 years since the landmark establishment first opened to the public to great fanfare.

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THE LIGHT FANTASTIC Acclaimed lighting designer Tino Kwan is one of the world’s leading exponents of his field, specialising in lighting design for global companies, luxury hotels, commercial buildings, retail shops, residential development projects and private residences. 2019 marked Kwan’s 40th year in the business and he celebrated the milestone with a multi-faceted exhibition and an accompanying coffee table book.

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A CRAFTY CONCOCTION Gin is on everybody’s lips – literally. Over the last few years, it has seen a resurgence in popularity, largely due to the emergence and explosive growth of the ‘craft’ beverage scene, a wave which started with beer and which has now firmly advanced into other spheres of tipple. The Peninsula speaks to Amanda Kralj, the creator of HKG Gin, which is already being warmly received both at home and abroad.

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CONTENTS 2 ISSUE 4: 2019

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STAR BARS In 2019, the Forbes Travel Guide, the world-renowned and only global rating system for luxury hotels, restaurants and spas, unveiled its Verified List for 2019’s World’s Best Hotel Bars, naming Z Bar at The Peninsula Chicago, The Club Bar at The Peninsula Beverly Hills and The Bar at The Peninsula Manila as three of only 45 bars around the world to earn the accolade.

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CHALET IN THE SKY The Swiss après-ski spirit is reimagined at Salon de Ning at The Peninsula New York in the heart of Manhattan with two heated chalet-style domes designed for sophisticated winter parties.

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THE ART OF SPEED “I love this car. It’s more successful than the artwork,” exclaimed Andy Warhol after his sweeping brush strokes had transformed the BMW M1.

It took him less than half an hour to create the fourth exhibit in the BMW Art Car Collection.

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60 YEARS YOUNG Originally developed out of Great Britain's need for a more fuel-efficient car, the Mini became one of the most recognised cars ever produced.

Original Mini production started in 1959 and was an instant success as of the most iconic vehicles of the 1960s and beyond.

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FIT FOR AN EMPEROR The second son of the 18th generation of a Japanese sake producing family, Hiro Yoshikawa spent his upbringing surrounded by creation and artistry.

Today, he is heralded as a Master Jeans Wash Designer and is an advisor to the world’s leading denim brands. In addition, in 2013, he launched his own unique brand, Washi Jeans, each pair of which takes an astounding six months to make.

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THE DRIVE TO SUCCEED Driven by its universally recognised excellence, Rolex has built upon its own defining heritage in watchmaking to embrace the spirit of tennis.

The brand’s passion for exacting performance is shared with the leading tournaments and players it partners with worldwide.

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ONE TO WATCH Dolce&Gabbana’s new line of timepieces ‘Manifattura Italiana’ marks the first time that the brand has presented its own exclusive movement, the DG 01.01 calibre, entirely assembled by hand by the master watchmakers of Geneva, and which ref lects the designers’ love for the human touch and Italy.

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CONTRIBUTORS The Peninsula Hong Kong Salisbury Road, Kowloon, Hong Kong Telephone: (852) 2920 2888 Facsimile: (852) 2722 4170 E-mail: phk@peninsula.com The Peninsula Shanghai No 32 The Bund, 32 Zhongshan Dong Yi Road Shanghai 200002, The People’s Republic of China Telephone: (86-21) 2327 2888 Facsimile: (86-21) 2327 2000 E-mail: psh@peninsula.com The Peninsula Beijing 8 Goldfish Lane, Wangfujing, Beijing 100006, The People’s Republic of China Telephone: (86-10) 8516 2888 Facsimile: (86-10) 6510 6311 E-mail: pbj@peninsula.com The Peninsula Tokyo 1-8-1 Yurakucho, Chiyoda-ku Tokyo , 100-0006, Japan Telephone: (81-3) 6270 2888 Facsimile: (81-3) 6270 2000 E-mail: ptk@peninsula.com The Peninsula New York 700 Fifth Avenue at 55th Street, New York, NY 10019, U.S.A. Telephone: (1-212) 956 2888 Facsimile: (1-212) 903 3949 E-mail: pny@peninsula.com The Peninsula Chicago 108 East Superior Street (at North Michigan Avenue), Chicago, IL 60611, U.S.A. Telephone: (1-312) 337 2888 Facsimile: (1-312) 751 2888 E-mail: pch@peninsula.com The Peninsula Beverly Hills 9882 South Santa Monica Boulevard, Beverly Hills, CA 90212, U.S.A. Telephone: (1-310) 551 2888 Facsimile: (1-310) 788 2319 E-mail: pbh@peninsula.com

JOYCE FRICSAY-CIOACA

ANNA PEÑA

Joyce was born and raised in Hong Kong in the 1970s of a German mother and a Swiss father who were both active in the hospitality industry as it rapidly developed in the city. She began her career as a hotel receptionist and has spent much of her life travelling the world. Joyce is passionate about fine food and wine and indulging in the culture of her beloved Hong Kong.

Anna Pena grew up in Hong Kong. Before moving to the US to pursue her Masters Degree at The School of Visual Arts New York, she also lived in London and Paris. Since graduating in 2001 she has been shooting in New York and internationally for a wide range of publications.

CHARLOT KRYZA Born in Vienna, Charlot first arrived in Hong Kong in 1999 with her college design folio under her arm. She expanded from graphic design to include fashion styling and art direction, working for everyone and anyone, creating and running around for clients from Barney Cheng to Joyce and House of Siren to Lane Crawford. Following a stint in India teaching and studying yoga, Charlot is back in Hong Kong to resume her creative pursuits and created the special bespoke cover for this issue of the magazine.

CHRISTINE LAM Christine graduated from the Hong Kong Design Institute with a degree in animation but soon realised that her passion lay in graphic design. A creative of many talents - she bakes, hand makes clothes and accessories, and speaks fluent Japanese.

Christine draws inspiration from music as well as movies and she is the Chief Designer for The Peninsula magazine.

ANTONIO SABA Antonio Saba had already earned a reputation as a leading talent in the advertising sector by the age of 21. Trained as an observant exponent of still life, today Saba is a very interesting figure in world photography, with a particular focus on the pictorial element of the shot and its iconic composition. This marked compositional approach, his signature means of expression, has enabled Saba to gain exposure on an international level. A permanent exhibition by Saba on the subject of his birthplace, Sardinia, can be found in the head offices of the Bank of Cagliari.

ANN TSANG Ann Tsang is the Editor-In-Chief and Creative Director for The Peninsula Magazine, as well as several luxury custom publications in Asia and the United States. She began her career in television, working for many of the world’s biggest broadcasters, and also ran her own marketing consultancy before founding The Antithesis, a bespoke, luxury publishing venture in Hong Kong.

The Peninsula Paris 19 Avenue Kléber, Paris 75116, France Telephone: (33-1) 5812 2888 Facsimile: (33-1) 5812 2999 E-mail: ppr@peninsula.com The Peninsula Bangkok 333 Charoennakorn Road, Klongsan, Bangkok 10600, Thailand Telephone: (66-2) 861 2888 Facsimile: (66-2) 861 1112 E-mail: pbk@peninsula.com The Peninsula Manila Corner of Ayala & Makati Avenues, 1226 Makati City, Metro Manila, Philippines Telephone: (63-2) 887 2888 Facsimile: (63-2) 815 4825 E-mail: pmn@peninsula.com Reservations can also be made through: The Peninsula Global Customer Service Centre 5/F, The Peninsula Office Tower, 18 Middle Road, Kowloon, Hong Kong Telephone: (852) 2926 2888 Facsimile: (852) 2732 2933 E-mail: reservationgcsc@peninsula.com Toll Free from: Australasia • Australia: 1 800 116 888 • China: 4001 200 618 • India: 000 800 852 1388 • Japan: 0120 348 288 • Korea: 00798 8521 6388 • Singapore: 800 8526288 • Taiwan: 00801856908 • Thailand: 1800011888 Europe • France: 0800 915 980 • Germany: 0800 181 8418 • Italy: 800 789 365 • Russia: 810 800 2536 1012 • Spain: 900 937 652 • Switzerland: 0800 562923 • UK: 08007830388 Americas • Argentina: 0800 888 7227 • Brazil: 0800 891 9601 • Canada: 1866 308 8881 • Mexico: 01 800 123 4646 • USA: 1 866 382 8388 Middle East • Bahrain: 800 065 90 • Saudi Arabia*: 800 865 6047 • UAE: 800 065 0628 * Toll-free access number is only available through Saudi Telecom Company (STC). www.peninsula.com E-mail: info@peninsula.com

Published by: The Antithesis G/F, 1 Pak Tze Lane Central Hong Kong Tel: +852 2851 1150 Email: info@theantithesis.net Editor-in-Chief and Creative Director: Ann Tsang Graphic Designer: Christine Lam Cover Image: Antonio Saba

Media Agents: Hong Kong and Asia OMJ Media Jeremy Orritt Tel: +852 9188 6157 Email: jeremy@omjmedia.com The Media Representative Company Herb Moskowitz Tel: +852 9276 1011 Email: themediarep@gmail.com

THE PENINSULA is published by The Hongkong and Shanghai Hotels, Limited.

Incorporated in 1866 and listed on The Stock Exchange of Hong Kong (00045), HSH is the holding company of a Group which is engaged in the ownership, development and management of prestigious hotel, commercial and residential properties in key locations in Asia, the United States and Europe, as well as the provision of transport, club management and other services. The Peninsula Hotels portfolio comprises The Peninsula Hong Kong, The Peninsula Shanghai, The Peninsula Beijing, The Peninsula Tokyo, The Peninsula New York, The Peninsula Chicago, The Peninsula Beverly Hills, The Peninsula Paris, The Peninsula Bangkok, and The Peninsula Manila. Projects under development include The Peninsula Istanbul, The Peninsula London and The Peninsula Yangon.

The property portfolio of the Group includes The Repulse Bay Complex, The Peak Tower and St. John’s Building in Hong Kong; The Landmark in Ho Chi Minh City, Vietnam; 1-5 Grosvenor Place in London, UK, and 21 avenue Kléber in Paris, France. The clubs and services portfolio of the Group includes The Peak Tram in Hong Kong; Thai Country Club in Bangkok, Thailand; Quail Lodge & Golf Club in Carmel, California; Peninsula Clubs and Consultancy Services, Peninsula Merchandising, and Tai Pan Laundry in Hong Kong.

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ORDERING FROM ADVERTISERS: Advertisers warrant and represent that the descriptions of the products or services advertised are true in all respects. THE HONGKONG AND SHANGHAI HOTELS, LIMITED assumes no responsibility for claims made by advertisers. THE HONGKONG AND SHANGHAI HOTELS, LIMITED, its officers, directors, employees or agents make no recommendations as to the purchase or sale of any product, service or item. All views expressed in all articles are those of the authors and are not necessarily those of THE HONGKONG AND SHANGHAI HOTELS, LIMITED. All content contained within this magazine is the sole property of THE HONGKONG AND SHANGHAI HOTELS, LIMITED and may not be reproduced in any manner whatsoever without authorisation. (c)Copyright 2019

by THE HONGKONG AND SHANGHAI HOTELS, LIMITED. All rights reserved. The Peninsula is a trademark of The Peninsula Intellectual Property Limited.

Crowning GLORY TEXT: ANN TSANG IMAGES: COURTESY OF LIANG YI MUSEUM

H o n g Ko n g’ s Li a n g Y i M u s e u m i s c u r re nt l y presenting ‘Crowning Glory: The Beauty of Ladies' Ornaments from Asia and Europe’, a landmark exhibition exploring the role that women’s clothing and accessories played in the social construction of gender and identity from the late imperial era in China and Japan to the early modern period. The aim of the exhibit is to provide an insightful view into the traditional and modern concept of female beauty in the East, and its dilution and evolution upon the introduction of Western notions, morals and ideas.

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A handy box (tebako) containing toiletries and travelling writing utensils, Japan, Edo period (1603-1868) Maki-e lacquer on wood, Liang Yi Museum Collection

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Washbasin stand with towel rack, China, 18th Century, Huanghuali, Liang Yi Museum Collection

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Lady’s jacket, China, mid-19th Century ©On loan from The Chris Hall Textile Collection

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dedicated to illustrating the connections that have always influenced art and culture – and their relevance on our lives in a global community.

Building on the success of its March 2019 exhibition Chrysanthemum and Dragon: The Art of Ornamentation in Japan and China in the 17th – 19th Century, which marked the debut of the Liang Yi Museum’s recently acquired Japanese collection, Crowning Glory: The Beauty of Ladies' Ornaments from Asia and Europe further reveals more of the Museum’s Japanese collection and its continuous research into the design, craftsmanship and heritage of Asian art.

While the former exhibition focused largely on scholars and the literati, who were mostly men, this show takes a closer look at the other half of society: women.

This compelling exhibition features over 250 pieces, including objects of everyday use - from traditional Chinese furniture associated with the boudoir; Japanese hair ornaments and silver pieces; to textiles from both cultures.

Clothing and accessories have been a mirror of aesthetic and cultural progression for nearly all of human history. They provide an exceptional field for studying how people interpret a specific form of culture for their own purposes and everyday self-presentation. As both Chinese and Japanese society are deeply rooted in Confucian beliefs, for centuries the rights of women from the two countries have been limited to being subordinates, or at best, satellites to men.

Low literacy rates, minimal property rights, and a small voice in public affairs made women the ornaments of the family and so they were so accordingly accessorised.

Geographical location, climate, culture, history and customs are some of the usual factors that shape each society's perception of beauty.

The narrative of this exhibition therefore unfolds with the first section, which provides a visual reference to traditional beauty standards in China and Japan, with paintings and illustrations, including woodblock prints from the renowned series ‘Mirror of Historical Eras’ (Jidai Kagami) by Yōshū Chikanobu (1838–1912).

ollywood Road in Hong Kong is a well-known destination for antique-hunters, especially antique Chinese furniture.

In the 1980s and 1990s, this was the spot for anyone looking to buy a Ming Dynasty southern official's chair, or a midQing kang table made of the finest zitan. It is fitting then, that the Liang Yi Museum – a private museum that houses one of the world's finest collections of Chinese classical antiques - opened at 181 Hollywood Road in 2014.

The four-storey museum is home to one of the world's largest and best curated collections of Chinese antique furniture, made of the treasured materials huanghuali and zitan, from the Ming and Qing Dynasties. Started in the 1980s with many of the earlier pieces purchased on Hollywood Road itself, three decades later, the collection has grown to over 400 pieces., some of which have been exhibited in other major museums, including the National Museum of History in Taiwan and the Palace Museum in Beijing.

Like Hong Kong itself, Liang Yi Museum is a blend of East and West. For those interested in Chinese antiques, the furniture collection will enthrall. However, for those curious about European history, the Museum also houses the world's premier collection of bejewelled clutches, compacts and powder boxes. Made in the finest design houses such as Cartier, Boucheron and Van Cleef & Arpels, these nécessaires and minaudières, glittering with precious stones and showing exquisitely detailed craftsmanship, were once a staple of every lady's evening wear.

With over 800 examples from the late 1880s through to the 1960s, this dazzling collection provides an elegant view into a bygone era.

In addition to classical Chinese furniture and European vanities, the Museum’s diverse collections also include European silver and Japanese works of art. The Liang Yi Museum is singular among Hong Kong institutions in its continuing commitment to collecting and presenting its permanent collections to new audiences. In addition to permanent galleries devoted to furniture, the Museum presents an array of exhibitions, publications, and public education programmes

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The heart of the exhibition features a display of selected artefacts including wooden objects, textiles and hair ornaments, used and worn by traditional Chinese and Japanese women from the 17th to the 19th Centuries. Under the patriarchal structure of a Chinese family, a woman was confined to the domestic sphere; and hence she would spend most of her time in her private chamber. A bed was the most important part of a woman’s dowry, and was one of the very few objects that would remain in her possession regardless of divorce or widowhood.

It was also the symbol of her status within the family.

Similarly, Japanese garments and ornaments - even hairstyles reflected a wearer’s cultural identity and social status. During certain periods, the choice of a hairstyle could be used to distinguish between a courtesan, an actress, or an aristocrat. The choice of hair ornaments, much like kimonos, was also season-sensitive. With distinctive seasons in Japan, craftsmen utilised the visual vocabulary of each season as decorative inspiration.

Cultural exchanges of ideas are never one-sided: The West was also influenced by the exotic cultures of the East. Traders and missionaries based in the ‘Paris of the East’ (Shanghai), as well as other designated port cities of China, introduced Chinese fashion back to their home countries. The final section of Crowning Glory features a selection of European vanities from the Museum’s permanent collection, with a particular focus on objects influenced by Chinoiserie and Japonism from the 1920s to 1930s.

To ground the exhibition through real-life examples and social context, there are also four dedicated galleries where visitors can immerse themselves in the lives of four Chinese women – Wu Jiangxian, Yuan Dashe, Guan Daosheng and Mo Shuying - all of whom made significant contributions to literature, art or politics from the Sui Dynasty (569618) onwards.

This gripping exhibition hence not only showcases the distinctive craftsmanship and creative expression of the two countries, but also presents an invaluable record of the progress of human history, inviting visitors to join the global conversation on the changing social consciousness of women’s evolving identity and social status.

An illustrated catalogue accompanies the exhibition and includes a foreword by the Director of the Liang Yi Museum and essays by the curator and other scholars addressing the historical, cultural, sociological and aesthetic dimensions of selected works. Free monthly talks featuring a line-up of distinguished speakers have also been organised to complement the exhibition. More details can be found on the Liang Yi Museum’s website, as well as Facebook, Instagram and Wechat.

Crowning Glory: The Beauty of Ladies' Ornaments from Asia and Europe runs until February 27 2020 Opening Times: Tuesday to Saturday, 10:00 am to 6:00 pm (by appointment only) Location: 181 - 199 Hollywood Rd, Sheung Wan, Hong Kong

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A Victorian silver-mounted lady's travelling dressing table set, England Maker: Thomas Whitehouse,1862 Glass and silver Liang Yi Museum collection

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A JOURNEY Through TIME TEXT: ANN TSANG IMAGE: COURTESY OF LIANG YI MUSEUM

Lynn Fung is Director of the Liang Yi Museum and one half its namesake. The Peninsula talks to Fung about the missions of the Museum, its rare experiential approach, and her favourite museums in the world.

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he Liang Yi Museum on Hong Kong’s Hollywood Road opened in 2014 and is a private museum: in itself a rarity in the SAR. The Museum houses several permanent collections: one of the world’s largest collections of Chinese antique furniture from the Ming and Qing Dynasties; the largest collection of European vanities in the world, dating from the 1890s to modern day; and the most recent, an impressive Japanese collection of kiseru (tobacco pipes); yatate (portable stationery holders); and hair ornaments.

Fung has brought a fresh approach to the Museum, describing herself as "an interpreter of traditional craftsmanship for a modernday audience". Having grown up surrounded by her father’s furniture collection, she has an intimate knowledge of its component pieces, and drew from this when creating the Museum’s narrative approach, whereby plaques are removed and guests are instead shown around by appointment in small, private groups by docents, and encouraged to touch, use and smell the furniture if they so wish.

In her role, Fung is responsible for creating an exhibition programme that showcases both the Museum’s own permanent collections, as well as organising loans from international institutions, galleries and private collectors. Within this realm, she organised Masterpieces of British Silver: Highlights from the Victoria and Albert Museum, featuring many pieces that had never before been seen in Asia.

Another popular exhibition that she spearheaded was The Blue Road: Mastercrafts from Persia in 2018. This was the first and largest exhibition of Persian decorative art held in Asia, and included loans from a dozen international institutions such as The Ashmolean, The V&A, The David Collection, The Doris Duke Foundation, and The Wellcome Collection.

collection, and then there was a demand for additional exhibitions, so we began to approach both private collectors and institutions that would be interested in collaborating with us.

TP: What is the concept of a private museum and what makes Liang Yi different in that respect?

LF: We actually charge an entrance fee of HK$200, whereas most other museums in Hong Kong are free of charge to visit. For this fee, visitors (by appointment only) are assigned a docent (personal guide) who escorts them around the exhibits and offers a proper explanation of what each object is. One of the most important things that differentiates us from other museums is that guests can actually touch the objects, which often instils them with sense of awe – almost a giddy feeling of childlike wonder.

TP: You are also committed towards reaching out to local educational institutes to research how Liang Yi can encourage and foster local design talent, increase public interest in the field of art and antiques, and stimulate cultural exchange and challenging dialogue from the heart of Hong Kong. Can you elaborate on this?

LF: We offer free lectures by experts and professors on the first Tuesday of every month, and every Wednesday we offer free entrance to students above the age of 12 from both Hong Kong and overseas.

In addition, we have an extensive library of books that we make available for students to do research. Social media has really been a godsend in my opinion, as it helps us to convey the history and value of our pieces to a much wider audience, including Millennials. We also fully encourage people to take photographs (without flash obviously).

TP: What are your personal favourite museums to visit elsewhere in the world?

LF: Gosh, there are so many, but if I were to hone it down to three, first would be the Tobacco and Salt Museum in Tokyo, then the Design Museum in Copenhagen which focuses specifically on Danish design – I have a special love of chairs. Another fascinating one is the National Museum of Iran in Tehran, which provides a truly eye-opening experience.

The Peninsula: What initially inspired you to undertake a project of this magnitude?

Lynn Fung: The idea had been percolating in my father’s head for a long time, as he has been collecting furniture and antiquities for almost five decades and we needed to consider the issue of storage.

So we came up with the idea of sharing these treasures with the public by opening a private museum. We started with our permanent

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“Fisherman @ Sunset” Collection “Hong Kong Panoramas” A picture taken at Ma On Shan where Enrico was teaching photography. His student said that he did not see much of interest to shoot, so to prove a 20longest exposure without the fisherman himself moving even though point, Gili took this image with a golden-blue filter on his lens, and went for the he changed his bait every 30 seconds or so. The only thing that gives movement to the image is the end of his fishing rod.

360 Degrees OF Life TEXT: JOYCE FRICSAY-CIOACA IMAGES: ENRICO GILI

On any given night of the week, a solitary figure can often be seen in the environs of Hong Kong’s Wanchai district, capturing images of those that the city usually ignores under the cover of darkness.

That solitary figure is Enrico Gili, and armed with his substantial photography equipment, he spends hours taking images of street sleepers, garbage collectors and others made anonymous by the obscurity, the same dark that in return allows him to practice his passion in the calm and quiet that his Parkinson’s disease demands.

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He is not interested in what people think or expect, it is what he sees; being in the moment and making a rational decision there and then, what to shoot or not. He knows that some shots will inevitably be lost, but some great images are created, and this is the basic choice that is made consciously before shooting. Gili approaches a shot knowing ahead of time what he is seeking to achieve, sometimes planning one shot weeks in advance. He cites one of his classic Hong Kong shots of workmen putting up scaffolding, taken from his office window. “I knew as soon as I saw the bamboo piled up in the street below that I needed to observe the progress to get exactly the image that I wanted, and a week later, they had reached a height and stage of work that I felt made for the most interesting picture.” With the right lighting at a specific time of the day, Gili achieved exactly the shot that he wanted.

When asked to describe his style, Gili declines politely by saying that in order to do so, he would have to put it into context, and he doesn’t compare himself to anyone. Early on, he was very impressed by the work of Peter Lik, the Australian photographer famous for his very high-definition, colour popping images of spectacular landscapes, made possible by the development of DSLR cameras, and moved his own editing towards this style. However, he later found the dynamic range gave a too unnatural and totally digital look which was overdone and extreme, and he felt the need to “return to nature” as it just was not “him”. He is a self-taught photographer who intentionally avoided listening to the ‘rules’ and tips of others to avoid having preconceived notions. He learns a technique and then practices it, using it the way he wants and needs to use it.

Gili focuses heavily on semniotics and looks for that little sign to link elements to the bigger picture, engaging the viewer and also making his works very recognisable. For him, photography is freedom and passion, and he likens his images to the works of James Joyce, saying that strong contrasts in his life are reflected in his pictures – the darkness and the light.

nrico Gili first started taking photography seriously in his early 20s as he was travelling through the United States. As he ventured through Utah, New Mexico, Nevada, California, Oregon, Seattle, Washington State, and beyond as a single traveller, he took pictures to have a memento of his discoveries. Ironically, he used only disposable cameras as he didn’t want to lug heavy equipment around with him, and admits that the photos are “pretty bad”.

It was Gili’s first trip overseas and in the land of John Ford, Jack Kerouak, Lawrence Ferlinghetti, Allen Ginsburg and on the trail of Big Sur, he had a breakthrough moment. The disposable cameras had neither zoom nor range – he needed to move himself to get the picture and the point of view that he wanted, and he believes to this day that this is what makes all the difference to a shot. “Composition is the one thing that really makes a difference, regardless of what film or camera is used. A frame gets the viewer to put together the other pieces according to their interpretation. It engages,” he states purposefully. “A picture can be realistic or artistic, but the viewer needs to complete the rest and it stays in the mind longer than a film because the mind works subconsciously to understand it. A movie describes and gives you everything to have a finished account. A simple picture doesn’t tell a story, you make it up the way you want to see it.”

Gili always tries to find something that will bring out emotions from his images, that one thing that will draw the viewer in and convey a message. He uses the example of Jimi Hendrix playing on a classical guitar or an acoustic guitar, using technology to bring his music to another level and creating something unique, as he himself uses various filters, lenses, and post-shoot editing to bring another dimension to his photography. “The way you express yourself makes it art,” he states.

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The entrance to one of the oldest buildings in the Wanchai district shot23 at 1/200 seconds and 4000 ISO, there is enough light from the stairwell to illuminate the entire image.

“Green Tram” 24 This picture is part of collection not yet completed. “Originally I thought to highlight red and gold, symbolic colours for the Chinese, but I finally settled for green to represent jade.” - Enrico Gili

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“View from Kowloon Park West @ Sunset” Collection “Hong Kong Panorama”

It was during a charity event at his restaurant La Piola, in its original location on Lyndhurst Terrace in Hong Kong, that Gili was given the push that he needed to take his photography more seriously.

A professional photographer whom he had never met before, Sterle Marino, was looking at the pictures that he had displayed in the restaurant and encouraged him to consider exhibiting, and even selling his work. “Sometimes you meet a person, they leave a mark or even totally change your life, and yet you never meet them again and they have no idea of the impact that they had on you,” he recalls.

At the time, Gili was suffering from what he believed was a reaction to anxiety during an unusually stressful period – his left hand in particular would shake when he became anxious and it would stop once he was calm – although some doctors had hinted that it could be the early onset of Parkinson’s disease. In denial of this latter prospect, he headed to Japan for a second opinion and the availability of a major procedure in the event that the condition was confirmed – the placement of a deep brain stimulation device into his brain, connected to a control in his chest by wires running through his neck, and which had to be adjusted during consciousness whilst the surgeon prodded around in his brain. This was a choice that he admits he would likely have declined had he not been below the age of 40 and with a young family to boot.

Gili arrived in Kyoto two months ahead of his procedure, the reality of which he understandably found overwhelming and put his focus on getting material ready for his first real photography “collection”. More than anything he needed something to channel all his energies into, focus on and keep him calm. He met a Japanese lady whose husband was, by reputation, the ‘official’ photographer of the geishas and learned from him how best to capture them, where to go, and how to approach them in order to not only have their agreement on having their photos taken, but also to achieve shots that were not entirely candid. Very quickly, Gili could pre-empt where to wait – he would see chefs with trays delivering meals to the Geisha houses, the quantity of which indicated which houses were busy, the musicians followed, then the Maiko and finally the Geiko. He knew which coffee shops they frequented, the paths they usually walked, and the resulting work was a stunning exhibition called ‘Geiko and Maiko of Kyoto’. He admits that it became addictive, almost like hunting, where the setting up of the shots was akin to stalking the prey, waiting for the ultimate image capture.

Since the operation, which was performed by the pioneering surgeon of this technique as his final procedure – a gentleman over the age of 80 and three months before he died - Gili nonetheless still takes a considerable amount of medication, a very delicate balance

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that he has taken time to understand. Due to the huge list of sideeffects and the fact that the shaking returns as soon as the end of dose effectiveness fades, he needs to understand his body and reactions well enough to know how to balance the mix each day to tackle what is or isn’t working.

Gili has found the night to be the perfect alibi for his photography there are less people around and the quiet calms him, two very important elements when living with Parkinson’s. He works with a very heavy, sturdy camera, and has found a position to hold it allowing him the possibility to shoot without a tripod. He can also move at his own pace in the still of the night – another aspect important to Parkinsonians who need to move at a regular and defined pace, almost military style, in order to avoid mishaps such as those caused by a rolling foot.

He admits that without the technology available today, he would have much more difficulty taking photographs and he has invested in the right equipment to allow him to shoot in spite of his shaking – a heavy camera, DSLR, zoom, anti-vibration, an extremely high ISO and quick shutter speeds so that he can capture what he needs very quickly.

Always challenging his comfort zone, Gili has focused on street and portrait photography over the past 18 months, believing that

this was one of his weak points. His studio style is very much based on the techniques of Joel Grimes; for women he prefers to shoot with an 85mm or 105mm lens which he feels is softer and allows him to shoot at a distance which is “not close enough to be in their faces and not far enough to have to shout”. For men, he goes for a more rugged and detailed look and uses a 24mm lens.

Gili does not believe that it is necessary to “go to a shoot”. So many of his pictures are taken within 500 metres of each other and there is something happening literally around the corner every night.

Much of his work he describes as a “shoot just waiting to happen” and he makes sure that he never leaves home any more without his camera. Nonetheless, there is pre-planning, and before setting off, he ensures that his equipment is set up – always fully manual – so that he can start shooting the moment something of interest appears, with just minor adjustments.

Having now lived with Parkinson’s for nearly a decade, Gili believes that the disease is still very much misunderstood. “It’s difficult for people to fathom why such simple things as sending phone messages, opening containers and locks, shaving, taking change at the supermarket, arriving at a specified place on time, or simply walking the streets may be a struggle for a Parkinsonian,” he explains.

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A 16-fisheye image taken from the left side of The Peak, including the whole of Victoria Harbour, purposely unbalanced to be able to include the several bridges in the image. Taken in 2014, with a long exposure in black and white to keep distraction to a minimum.

“I have learned to retrain my brain, and to rethink my reactions to things that before the development of Parkinson’s would not even have triggered a thought - things that people without an understanding of the disease are usually not aware of; enormous stress is caused by being rushed out of the required timeframe to do tasks, not being able to open the right file when clicking with the mouse because a shake causes it to jump to another file, mistyping on keyboards and phones because of involuntary movements, simply forgetting things or losing things because there is no recollection where they were left.

Over time, you reach a level of acceptance, forcing yourself to place less importance to things that do not matter regardless of how annoying they might be.”

Gili has come to terms with the disease and his limitations because of it – there is no escaping his Parkinson’s and there certainly is no way to deny it any more. He has learned to listen to his body and the rhythm that it commands in order to keep steady. If a day is “off”, then he needs to accept it as such – days when the shaking is not really under control and the decision to leave the house or cancelling a meeting needs to be considered. He has always been impulsive, but Parkinson’s has taught him to be pragmatic – the consequences of rash decisions and actions can have a very different and deeper effect than for a non-Parkinsonian.

He is now working on bringing awareness to the cause, especially to help the family members of those suffering with Parkinson’s better understand the behaviour and issues that come with it. As with many other diseases, Gili believes that it is the family members and those closest to the one bearing the condition that suffer the most; not understanding the potential for mood swings, outbursts during sleep,

the terrible insomnia, or the frustration caused by not being able to do seemingly basic tasks, the loss of short-term memory and sometimes smell, skin issues, pain caused by dystonia (cramping of the limbs) often brought on by the medication that is supposed to ‘help’ with the disease. “They need to be aware that there is a very negative, very dark mental side to Parkinson’s,” he notes.

On a brighter note, Gili is also planning on using his photography as inspiration for other sufferers through a charity that is in the process of being set up, to show them what can be achieved in spite of the condition, with the goal that they too will find a targeted stimulus that gets them out of the house and into a creative space.

He hopes that this will also help to alleviate potential depression, anxiety and other emotional problems that often affect those afflicted by the disease.

Gili makes a point of shooting every day to continually improve his skill and to master techniques that are new to him, spending about eight weeks on them, so that they become second nature and no longer a thought process. He also insists that his pictures are printed rather than viewed on a backlit screen. He has a very important relationship with his printer, who understands his work and how to achieve optimum results. He usually uses Baryta paper for his black and white shots, a paper containing barium and which really brings out the black in print. For his colour shots, he prints on metal, pearl or matte paper depending on the individual work.

Gili constantly updates the pictures on his website enricogiliphotography.com. He is also working on a number of projects to not only promote his photography but which he hopes will benefit those suffering from Parkinson’s.

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“Hong Kong Tram Reflection”

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Image courtesy of Picture This Gallery

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A STORIED History TEXT: ANN TSANG SPECIAL THANKS TO ANNIE CHAN

Time stands still at The Repulse Bay. Yet from its proud and serene Art Deco-inspired exterior, you would never guess that it has had such a colourful and storied history. On January 1, 2020 it will be 100 years since the landmark establishment first opened to the public to great fanfare.

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Sundowners on the terrace, circa 1920s. Image courtesy of The Repulse Bay archive

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he Repulse Bay Hotel first opened its doors on New Year’s Day in 1920. In a lavish opening ceremony, then-Hong Kong Governor Sir Edward Stubbs wittily remarked that: “From the point of view of the tourist it was a great advantage to have a place of that kind, but whether, from the point of view of the Colony, it was a great advantage to have tourists was a matter on which there was a little difference of opinion.”

The hotel was the brainchild of James Harper Taggart, who first arrived in Hong Kong sometime in 1907, at the age of 22, and went on to become Manager of The Hongkong Hotel, which had opened back in 1868. Recognised for his highly successful management of the city’s first luxury hotel, which was commended as the “greatest enterprise of its kind in China and Japan”, Taggart was pinpointed by The Hongkong Hotel Company to commence plans for an entirely new hotel, as rooms in the Colony were becoming scarce due to an increased influx of international travellers.

Accustomed to long walks and camping holidays along Hong Kong Island’s south side, Taggart became increasingly attracted to the natural beauty of Shallow Water Bay, as Repulse Bay was then known. With a vision that was ahead of its time, Taggart proposed that this would be the perfect location for a resort hotel of a style and setting that would rival anything of its kind in Europe. His idea was to provide an opportunity for sun weary travellers to rest and relax in the calm, clear waters of the Bay and to enjoy the full benefits of a luxurious hotel nearby.

And so The Repulse Bay opened on January 1st, 1920 with a spectacular event attended by Hong Kong’s élite, including Governor Stubbs and almost every motor car in the city.

At the time, Hong Kong lagged far behind countries like Japan in promoting tourism, and the opening of the hotel was not only an

important day in the history of the Hong Kong Hotel Company, Limited, but also a milestone in the development of the Colony’s rise as an international tourism destination.

Following its opening, The Hongkong Telegraph described The Repulse Bay Hotel as “The hotel of the Three S’s – site, sanitation, and service. Hong Kong, notorious for its scenery and beautiful views, could not have provided a better spot...” adding that, “the hotel, far from being a disfigurement of the natural beauty, admirably fits in with the scheme of things and stands out as an artistic structure in an artistic setting.”

The Repulse Bay Hotel – also commonly described as part of ‘The Riviera of the Orient’ for its lush seaside surroundings and exquisite world-class hospitality – soon established itself as a haven that catered to Hong Kong’s élite, as well as being a destination for dignitaries, Hollywood stars and literary icons.

“Repulse Bay is the seaside resort of the Colony, and has a hotel with all the surroundings of a beautiful villa. There are gardens of semi-tropical flowers, porches that look out over the sea, and below a fine bathing beach,” wrote Frank George Carpenter in his book ‘China’, which was published in 1925. Carpenter was just one of many novelists, playwrights, directors and composers who sought and found inspiration at The Repulse Bay Hotel.

William Somerset Maugham was inspired not only by its exotic setting, but also by the culture and upper echelons of society of Hong Kong, which prompted him to write ‘On a Chinese Screen’ in 1922, and one of his most iconic works, ‘The Painted Veil’, in 1925. The latter was a salacious tale, one that so accurately portrayed well-known Hong Kong residents that they eventually sued the publisher to have their names removed from the manuscript.

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33 Ernest Hemingway reading and reviewing his notes at The Repulse Bay Hotel. Image courtesy of The Repulse Bay archive

Drinks and board games in the original Reading Room. Image courtesy of The Repulse Bay archive Gellhorn, while falling in love with the people she met and their spellbinding stories, was actually appalled at the city’s less than adequate sanitation and housing in the heart of the city. “To newcomers, Hong Kong seems like a combination of Times Square on New Year’s Eve, the subway at five-thirty in the afternoon, a three-alarm fire, a public auction and a country fair,” she wrote in her piece titled ‘Time Bomb’ for Collier’s, before drawing attention to the Colony’s extreme polarisation of wealth.

It is also safe to say Gellhorn was less than impressed with her husband’s many long, late nights at Gripps. In fact, it was after a particularly raucous night, which ended with Hemingway setting off firecrackers in the hotel room, that Gellhorn insisted they move to The Repulse Bay Hotel, where they could enjoy fresh air, long walks, and the company of its well-heeled guests who were well informed on matters of the war.

It was at The Repulse Bay Hotel that Hemingway and Gellhorn met and spent time with journalist and author Emily Hahn and Major Charles Boxer, who was head of British intelligence in Hong Kong.

They also enjoyed the company of writer and social reformer Rewi Alley, and the esteemed Soong sisters, Madame Sun Yat-sen (Soong Chin-Ling) and Mrs. H. H. Kung (Soong Ai-ling).

It was through these reputable contacts, who provided Hemingway and Gellhorn with letters of introduction, that the couple was able to meet with high-ranking officials on their arrival in China in March 1941, where they reported on the war from what was then known as the ‘Canton Front’.

During the Japanese occupation, The Repulse Bay Hotel served as headquarters for 46 British troops posted to keep the road open between Stanley and Aberdeen, as well as a refuge for over 150 civilians.

Repulse Bay was successfully defended for three days before the Imperial Japanese Army, under the command of General Takashi Sakai, seized the hotel on December 23rd, 1941.

English playwright, composer, director, actor and singer, Noel Coward, whose work was once described by Time magazine as “a combination of cheek and chic, pose and poise”, visited The Repulse Bay Hotel for the first time in 1929. It was there that he wrote the comedic play ‘Private Lives’, as well as one of his best-known songs, ‘Mad Dogs and Englishmen’, which included the line “in Hong Kong they strike a gong and fire off the Noon Day Gun.” On a visit in 1968, Coward was invited to pull the trigger of the Noon Day Gun, but – arriving characteristically late – caused the gun to miss its otherwise flawlessly prompt firing.

As the situation in the Sino-Japanese war grew more perilous from the late 1930s to 1941, The Repulse Bay Hotel became a home away from home for many notable literary figures – including William Empson, Christopher Isherwood, Agnes Smedley, Theodore H. White and Henry Luce – who came to report on and write about the war.

The most notable, however, were Ernest Hemingway and his wife and celebrated war correspondent, Martha Gellhorn.

Gellhorn was eager to report on the war and see first-hand the conditions throughout Asia, and eventually convinced Hemingway that a trip to the Far East would be a great adventure. Hemingway went on to describe this 100-day Asia adventure as their “honeymoon”.

The couple arrived in Hong Kong on February 22nd, 1941, when they first stayed at The Hongkong Hotel on Pedder Street for its central location. There, Hemingway ensconced himself at the hotel bar – known then as ‘Gripps’ – where the drinks flowed as freely and as often as the rogues and raconteurs who came to meet and talk with him about the war - including the likes of Morris ‘Two-Gun’ Cohen, an adventurer, arms trader and former bodyguard to Dr. Sun Yat-Sen. “Morale was high and morals were low,” Hemingway wrote of Hong Kong in a letter to his editor, Ralph Ingersoll of the American tabloid, PM.

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Today the Reading Room retains all of the charm of its original setting, enhanced by Hemingway and Gellhorn memorabilia. Image: Jason Bonello During the occupation, the hotel served as a convalescent hospital for the Japanese. After the war, it continued to be used as a place of recuperation for allied troops in the Colony. The Industrial and Commercial Daily reported in 1946, in an article titled ‘Soldiers Paradise: “Convalescence at the Repulse Bay Hotel’ that “the pre-War entertainment centre – the hotel - has been used as a military convalescence home since November last year. Any military personnel entitled to wounded leave can stay here and enjoy the seawater, swimming and all outdoor sports. It is also used as a recovery centre for those injured or suffering from mental stress from Burma and other Far East fronts. There are 18 staff on duty and among them are four nurses. The hotel provides football, badminton, theatre and dancing for those who wish to enjoy them.”

Reporting and writing on war and romance, often both, continued long after the Sino-Japanese war. The subjects were vividly captured

by Eileen Chang, considered one of the most influential modern Chinese writers, in her 1943 novel ‘Love in a Fallen City’, which was set at The Repulse Bay Hotel. Scenes for the novel’s film adaptation, which starred Chow Yun-fat and Cora Miao, were also filmed on site.

The Repulse Bay Hotel has appeared on the silver screen a number of times. In 1954, William Holden and Jennifer Jones stayed at the hotel while filming the wildly successful film ‘Love is a Many Splendored Thing’. Based on the autobiographical novel by Han Suyin, it tells the tale of an American reporter covering the Chinese civil war. Married but separated, he meets and falls in love with a Eurasian doctor (Han) – only to face prejudice from both her family and Hong Kong society.

The Oscar-winning 1978 film ‘Coming Home’, starring Jane Fonda and Jon Voight, was also partly filmed in the hotel’s Reading Room.

As the fog of war began to lift, the talented, rich and famous began to find their way back to The Repulse Bay. During the late 1950s and throughout the 1960s, it was a favourite destination for high-rolling

jet setters for its superb service, fine European cuisine, and serene setting, yet easy proximity to the city – luxuries still enjoyed by Hong Kong residents and visitors today.

Clarke Gable, Tyrone Power, Ava Gardner, Sophia Loren and Marlon Brando all came to enjoy ‘The Riviera of the Orient’. Crown Prince Don Carlos and Princess Sophie of Spain spent their honeymoon there. Other royal patrons included Prince Axel, Prince Joachim and Princess Marie of Denmark, as well as Princess Birgitta of Sweden and Hohenzollern. In 1957, His Royal Highness the Sultan of Pahang visited with his new 20 year-old bride, Hathifah. Hong Kong screen siren Tina Leung Kwok-hing, more widely known as Ti Na, was a regular at The Repulse Bay’s famous afternoon tea, moving freely between the entertainment and political circles that were part of the hotel. Often referred to as ‘Hong Kong’s Marilyn Monroe’ for her voluptuous figure, free spirit and risqué on-screen performances, Ti Na later revealed that she had been recruited as a spy by the Chinese government. The Repulse Bay Hotel became known internationally as the place in Hong Kong to see and be seen – a haven where stars and stories were abundant.

Naval intelligence officer, journalist and author of James Bond fame, Ian Fleming, was particularly enamoured by the hotel’s glamorous mix of visitors, describing it in his 1963 non-fiction book, ‘Thrilling Cities’: “If you are holidaying, the Hong Kong Hotel-Repulse Bay, across the island and fronting a reasonable beach... is set in lovely gardens, and the local beauties, wives and concubines offer a dazzling display at the Sunday afternoon tea dances.”

At 6:00pm on Wednesday, June 23rd, 1982, guests crowded into the ballroom of The Repulse Bay to say a fond farewell to one of Asia’s great hotels after a triumphant 62 years in existence.

When the original hotel was demolished, public outcry was so great that The Hongkong and Shanghai Hotels, Limited rebuilt it partially in replica.

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The Repulse Bay today. Image: Antonio Saba

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The Bamboo Bar today. Image: Antonio Saba

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Over the following several years, the property was reimagined to include four residential towers known as The Repulse Bay, and a stylistically faithful, albeit smaller version of the 1920 reception building which would serve as the centrepiece for the new South side community.

The complex opened in December 1986 and guests were pleasantly surprised by the faithful attention to detail of the recreated building.

Many features from the old hotel had been packed and stored on-site during the construction process and were now proudly reinstalled.

These included such signature details as the entrance fountain, the Reading Room fireplace, the original doors, lighting fixtures, and even the dining room candlesticks.

Pieces of The Repulse Bay Hotel exist throughout, including original elements such as the 1930s stained glass in the Art Deco inspired Bamboo Bar, and the menu at The Verandah, which features dishes that date back to the 1920s such as Black Pepper Steak Flambé, Baked Alaska, and of course, the hotel’s celebrated afternoon tea.

Echoes of the establishment’s storied past exist in The History Gallery, which features various exhibits throughout the building. In the Reading Room, sepia-toned photographs, a vintage typewriter, books and memos showcase Hemingway and Gellhorn’s stay, while The Arcade displays vintage photos of musicians such as Buck Clayton who performed at the venerable institution.

The legacy of The Repulse Bay Hotel lives on through timeless style, impeccable service and a charming dose of nostalgia. And like other iconic hotels that catered to the crème de la crème of society, it remains as legendary as those who have walked through its doors.

View over Repulse Bay and the South China Sea from the terrace. Image: Antonio Saba

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The LIGHT Fantastic 42

TEXT: ANN TSANG IMAGES: COURTESY OF TINOKWAN LIGHTING CONSULTANTS

Acclaimed lighting designer Tino Kwan is one of the world’s leading exponents of his field, specialising in lighting design for global companies, luxury hotels, commercial buildings, retail shops, residential development projects and private residences. 2019 marked Kwan’s 40th year in the business and he celebrated the milestone with a multi-faceted exhibition and an accompanying coffee table book.

“The Story of a Hong Kong Boy”

T

he concept of lighting design is a hard nut to crack. As a medium, light is intangible, and yet there is no denying that it plays a powerful role and has a very evident visual impact.

Many have waxed lyrical about the manipulative and magical powers of light and shadows, and then there is the endless technical jargon that lighting comes hand in hand with. However, distilled down to basics, according to lighting designer extraordinaire Tino Kwan, “Lighting is very instinctive. It shouldn’t jump out at you and if everything looks perfect, then I have done my job.”

If anything, Kwan is modest. He does not just get the job done, he goes beyond the call of duty which explains why he is one of the most sought-after lighting designers in Greater China. His clients are both plentiful and hard-hitting. From shopping malls such as Hong Kong’s ifc to luxury retail outlets to hotels and homeowners who yearn for that extra pizzazz in their residences, they all want the magic touch of Tino Kwan.

Easy going and quietly thoughtful, Kwan is an interesting character to observe. He is not a man of many words and his expressions say it all. In an earlier photo session, he walked through Spring Moon, The Peninsula Hong Kong’s Chinese restaurant, revisiting his own work and whenever something piqued his interest, it was written all over his face. But it’s a man’s laugh that speaks volumes about who he is, and when Kwan laughs, it’s a guffaw, a deep and hearty one from within.

A makeup artist and a musician are the two professions he compares his own to. “When I look at a plan, I can visualise what it is going to look like,” says Kwan. He likens it to the way a musician looks

at a score and instinctively knows whether it’s a beautiful piece of music or not. He also likens lighting design to the art of makeup. “You study the face and all the features, then enhance the best ones and mask the weaker ones. You apply your know-how to make a person look the best they can possibly appear.” The one exception is the use of colour, which although desired on a face, does not seem to translate to lighting.

“Colour should be left to makeup,” says Kwan.

With the exception of entertainment lounges or other spaces where colours change with the setting and mood, the use of filters and gels can distort an interior designer’s work, he notes. “It’s not appropriate to alter the natural look of a space unless there is a specific reason. And often it’s a disguise for shoddy work, a crutch,” he further offers by way of explanation.

Step back in time to the 1970s, and the concept of lighting design was an embryonic one. Kwan likens its emergence to that of the interior designer’s coming out party. Back in the day, interior design as a genre did not exist per se; it fell under the realm of the architect. However, over time, people recognised what interior designers could bring to the table, and it was in a similar fashion that the industry began to see the light. Thus the specialist profession of lighting design was brought into the mainstream.

Architectural lighting design found its genesis in theatrical lighting. Stage lighting, which has a slightly more artistic bent, deals with illumination in conjunction with the revelation of forms and characters. Light, and in particular spotlights, are used to direct an audience’s attention, mood and to create a backdrop. The art of

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Nano Home Design Tino Kwan x Gary Chang illumination greatly impressed architects and interior designers who gradually began to employ these professionals to work on certain niche or high-end projects, thus the first generation of architectural lighting designers was born.

Born and raised in Hong Kong, Kwan’s aesthetic interest was sparked by his uncle, who was an interior designer, doing summer jobs at his office as a teenager. “I used to read all my uncle’s design publications and was turned on by all the beautiful spaces,” he recalls.

Kwan went on to study industry and environmental design studies at the Hong Kong Polytechnic University. After graduatiing, he worked as an interior and furniture designer, then as a lighting designer at US Spatial Light Environments Design Company in Hong Kong. He was then posted to the company’s branch office in Greece, working on hotels for Greek shipping magnates. The country’s design history made a deep impact on him, as he studied its rich archeological sites. London followed shortly after, for a role with Dale Keller & Associates, where Kwan gained a deeper insight into European art, culture, and the lighting industry.

In 1979, TinoKwan Lighting Consultants was founded in London, then during a summer trip back to Hong Kong, the chance to work on a new members’ club designed by American minimalist master, Joe d’Urso and with art by Andy Warhol, led Kwan to consider staying.

In 1981, the company headquarters subsequently relocated to Hong Kong, where the commissions were mainly hospitality related. Gradually, other sectors starting jumping on board, with projects in the high profile Central District and other prosperous areas dominating his

time. “We did The Landmark (one of Central’s first luxury shopping malls), but it wasn’t until I received a commission from another shopping mall in Yuen Long (a rural area of Hong Kong) that I realised how high the level of awareness was,” the designer recalls.

From a small company of three people, today TinoKwan Lighting Consultants has grown into an entity with offices in Hong Kong, Beijing and Tokyo, and more than 60 staff.

Kwan’s recent landmark 40th anniversary ‘Unity of Light’ exhibition showcased the importance of lighting design and how it enhances our daily lives, through an unprecedented display of milestone projects by the Hong Kong designer.

One of the main components of the exhibition was a ‘Neon Signage Experience’, which harked back to the 1970s and 80s, when the Hong Kong economy was booming and the streets were full of the neon signs of restaurants and shops, which have become almost timeless symbols of the city. In his own personal tribute to this, Kwan created neon signs representing over 40 of his valued clients, hotels and design companies, using mirrors for reflection to create a maze-like installation, with multi-reflecting lighting effects to symbolise his own interpretation of nostalgic Hong Kong.

Other than lighting, Kwan’s passion lies in cooking, especially Italian cuisine, and for the exhibition, he created the world’s first ‘light trolley’ in order to perfectly light up a carving board of meat or to present glasses of champagne in an alluring lighting setting. Handmade in Hong Kong, the light trolley has a back-lit frosted glass top and LED spotlights that resemble jewels.

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Rediscover Black Light

A further highlight of the exhibition showed a first-time crossover collaboration with renowned architect and interior designer Gary Chang - a ‘nano home’ design just 180 square feet in size, which aimed to demonstrate how even a small unit can be enhanced greatly through detailed attention to lighting.

“Minimum equipment to achieve maximum lighting effect”, has remained as Kwan’s design philosophy for four decades. It was perhaps

an avant garde concept at the time, yet today it falls in line with the importance placed on green lighting and energy conservation.

The designer remains very hands on with his projects, still insisting on climbing up tall ladders or scaffolding himself, in order to perfectly focus his lights. He also personally photographs all of his projects, as he believes that as he has the deepest relationship with his lighting, he is the one who is able to capture it at its absolute best.

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The Peninsula Tokyo façade Tino Kwan x The Peninsula The main lighting design of The Peninsula Tokyo was undertaken by Tino Kwan, for which he earned three major awards: the Outstanding Greater China Design Award from the Hong Kong Communication Art Centre, the Design Award for Light and Lighting from the Illuminating Engineering Institute of Japan, and an Award of Merit from the Illuminating Engineering Society of North America.

Kwan has also designed lighting for various other Peninsula properties in Asia with highlights including The Peninsula Shanghai, Spring Moon Cantonese restaurant at The Peninsula Hong Kong, and Salon de Ning at The Peninsula Manila, amongst others.

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A CRAFTY Concoction TEXT AND IMAGES: JOYCE FRICSAY-CIOACA

Gin is on everybody’s lips – literally. Over the last few years, it has seen a resurgence in popularity, largely due to the emergence and explosive growth of the ‘craft’ beverage scene, a wave which started with beer and which has now firmly advanced into other spheres of tipple. The Peninsula speaks to Amanda Kralj, the creator of HKG Gin, which is already being warmly received both at home and abroad.

P

eople who take the quality and craftmanship of their favourite drink seriously are no longer satisfied with the mainstream brands that are found everywhere. Instead, they are seeking something more artisanal, unique through their aromas, ingredients and production, and created by individuals or niche groups that are truly creative and passionate about their art.

As one would expect of the food and drink metropolis that is Hong Kong, there is no shortage of followers of this new trend, with a good number of gin-focused establishments having opened in the last two to three years, and an ever-wider selection of craft gins available at bars and restaurants around the city. A few individuals have gone as far as paying homage to our city by creating Hong Kong inspired gins, a star among them being HKG Gin – a 10-botanical creation combined with jasmine tea.

HKG Gin is the first offering from the newly established Suitcase Spirits, having just launched in the SAR. Founder and creator Amanda Kralj has spent the last couple of years developing and perfecting her first ‘gin baby’, not only handpicking the botanicals, and finding the ultimate way to bring out the best in her chosen ingredients to ensure that the end result is exactly as she wants, but also choosing how the ingredients, bottle and label would convey her sense of love for the city that has inspired this gin, and the place she has called home on and off for the last decade.

Hailing from Milwaukee, Wisconsin (or “Brew City, USA” as she refers to it), Kralj grew up in a culture of beer and home-brewing,

and remembers the smells pervading the city where the iconic beer giants such as Miller and Pabst were fermenting. At university, she and her friends were already drinking craft beers at a time when no-one really understood what they were all about. Of largely Eastern European heritage, Kralj’s favourite memories were of cooking and baking with her grandfather, developing her curiosity for food and flavours from a very young age, and giving her the knowledge of how to bring different flavours together to complement and enhance each other.

A trip to France and England at the age of 17 was a turning point in her life. It was her first trip out of the U.S. and marked the beginning of a lifelong passion to travel and discover. Although she may not have realised it at the time, she says that her teachers and peers saw her return home a changed person. Of her travels around the world, she says: “I felt I had the obligation to ‘conquer a city’, to understand how the people lived, their different perspectives, how they viewed the world, shopped, ate…. Ultimately, what makes them ‘them’.”

Kralj has always returned home with a suitcase full of ingredients and specialities from her travels, sharing them with friends around a table, allowing them an insight into her adventures and experiences which also manifested in the inspiration for her company name, Suitcase Spirits.

Kralj’s travels led her to Asia – Beijing, Japan, Singapore and Hong Kong, and it was in the latter that she realised she felt totally at home. Upon finishing her graduate studies back home, she made her return to the SAR.

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Whilst being a “techie by day”, the creative bug continued to beckon and what started as an idea to go into brewing to honour her Milwaukee-roots, ultimately led Kralj to distilling. In Barcelona on a month-long entrepreneurial workshop, she discovered Vermut (Vermouth), and was fascinated not only by the endless variants and choice of ingredients that could go into it, but also the culture and rituals surrounding it. Needless to say, it wasn’t long before she found herself in Reus, the home of Catalan Vermut. Visiting the Vermut Museum and talking to bartenders and consumers alike in the many bodegas and bars of the city, and understanding how the drink was sourced and served, learning how to make Vermouth turned out to be the lightbulb moment when Kralj realised that this was what she was destined to do. She wasn’t yet sure what it was she was going to produce or how she was going to do it, but she was on a mission.

Taking up the offer of a friend she had met in Barcelona to visit her in South Africa, Kralj soon found herself in Johannesburg, and whilst there, she signed up for a business course on how to run a distillery, thinking it would give her parallels to running a brewery.

Finding the technical aspects of it fascinating and appealing to her ‘techie’ side, she then went a step further to become a certified distiller.

Discovering the huge and very innovative craft gin culture in South Africa then ‘sealed the deal’ for her. She was amazed by the differences between gins (having only ever had standard London Dry up to that point), the endless possibilities of ingredients to be

incorporated, and the complexity that went into gin making. “I returned to Hong Kong and started experimenting at home with various infusions, trawling the local markets for unusual ingredients,” she recalls. “A lot of time was spent on research, reading and talking to people – masters of tea, spice experts, chefs - in the run up that led to the creation of HKG Gin.” The coordinates on the bottle, 22.2871°N, 114.1612°, are those of the Star Ferry pier on Hong Kong Island, chosen by Kralj to evoke the emotion that she wants the spirit to represent – her first time on the Star Ferry, brought her the amazing contrasts of sea, skyscrapers, modern cruise ships and humble sampans - different types of beauty, excitement and calm.

Kralj has chosen a very special and rare jasmine tea for the sweetness and floral elements of the gin, to counteract the earthy woodiness of the juniper and added warm spiciness with cardamom and cassia to contrast the brightness and citrus of orange. She is truly in her element at the distillery, where the fruits of her knowledge and labour come together, making the ingredients ‘sing’ in harmony and tell the story she wants.

The future offerings in the Suitcase Spirits collection will continue to bear the airport codes of the cities that inspire the respective spirits in question, as well as the map coordinates of the particular spots that leave their mark on this crafty creator.

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STAR Bars I

n October 2019, the Forbes Travel Guide (FTG), the worldrenowned and only global rating system for luxury hotels, restaurants and spas, unveiled its Verified List for 2019’s World’s Best Hotel Bars, naming Z Bar at The Peninsula Chicago, The Club Bar at The Peninsula Beverly Hills and The Bar at The Peninsula Manila as three of only 45 bars around the world to earn the accolade. This comes on the heels of the Forbes Five-Star Awards announcement in February 2019, in which The Peninsula achieved Forbes Five-Star status across all ten of its hotels, resulting in The Peninsula Hotels being the first and only hotel brand to achieve the highest possible FTG rating for all its hotels.

“An honour of this calibre is truly extraordinary, especially given the amount of hard work and meticulous attention our team collectively puts into each of these establishments,” says Carson Glover, Vice President of Brand Marketing & Communications at The Peninsula Hotels. “Every detail, from the design and ambience to the unparalleled service, to the incredible food and drink offerings, is carefully curated to provide an exceptional and unforgettable guest experience.”

The Verified List for 2019’s World’s Best Hotel Bars recognises 45 distinguished bars, across 13 countries, and represents hotel bars that performed exceptionally on standards related to the quality of their beverage programme, presentation and luxurious service.

Each hotel bar was meticulously inspected and scored using criteria such as elements of luxury standards, which reflect sumptuous comfort, choices and conveniences, including a special level of attention to detail, and also food and beverage quality standards, which play an important part in the overall guest experience. Bars must also demonstrate the technical aptitude of their staff, such as their ability to listen to guests’ individual preferences, and to deliver beverages at the correct temperatures.

“We’ve seen hotel bars evolve enormously in our 60-plus years of operating Forbes Travel Guide, hence the focus of our fourth Verified List,” states Filip Boyen, CEO of Forbes Travel Guide. “Hotel bars are now destinations in their own right and have the ability to transform a hotel experience. We congratulate all of the bars on the list, which were vetted and verified based on the most rigorous standards. They not only scored highly, but also provided the most luxurious experience for hotel and local guests alike.”

The Verified List throws a spotlight on outstanding hotel bars in China, France, Indonesia, Italy, Japan, Morocco, the Philippines, Portugal, Singapore, Switzerland, the United Arab Emirates, the United Kingdom and the United States.

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Image: Neil John Burger Z Bar at The Peninsula Chicago The globally inspired rooftop destination at The Peninsula Chicago is the newest Peninsula bar destination on the list, having opened in June 2018 with an unrivalled mix of flavours, sights and sounds from Chicago and around the globe. Two years in the making, Z Bar brings together captivating concepts, skilled industry leaders and expert hosting skills to present one of the city’s most exciting venues.

Z Bar is named after Maria Zec, The Peninsula Hotels’ first female General Manager. As an industry influencer, Zec is passionate about creating memorable experiences for hotel guests and patrons and her collaborative spirit brings together winning teams of chefs, mixologists, specialists and hoteliers.

Conceived by international design icons Yabu Pushelberg, Z Bar comprises a progression of lounges, each with their own personality designed to beckon patrons further inside. A study in refined textures, bold patterns and evocative artistry, the bar is a fitting backdrop for the detail-forward beverages, drinks and cultural happenings. Scenic murals, a dramatic skylight, floor-to-ceiling windows and a portrait of a pug combine to create a visual feast.

Lake Michigan, the Hancock, and the historic Water Tower are all visible from Z Bar’s perch high-above Chicago. The outdoor terrace and the private salons adjoining the exterior space offer unmatched views over Michigan Avenue while connecting guests to the bustling city below.

The cocktails at Z Bar are crafted with exceptional ingredients and inspiration, while bespoke glassware and rare garnishes aim to surprise. The drinks are imaginative and sophisticated, international and playful. A Manhattan Royale stars rare Elijah Craig 18 Year-Old Bourbon with truffle or saffron bitters served in handmade crystal over ice laced with 24-karat gold. Carbonated, bottled CoZmos (or Cosmopolitans) can be ordered five at a time in a Champagne bucket. Disco Fever, with Absolut Elyx, comes in a large-format disco ball that will be the envy of your Instagram feed.

Tableside preparations and pours abound – from freshly made mojitos from a roving cart to a 4:00 pm Friday afternoon Champagne tower designed to kick-off the weekend early.

A perfect match for Z Bar’s cocktails and extensive collection of beverages, small plates and shared platters nod to the cuisines of Asia, Europe and the Americas as they cleverly pay homage to beloved bar snacks. When paired with cocktails, it’s a wholly inventive culinary journey around the globe. Marrow Poppers, Z Bar’s version of tater tots, hide a decadent filling of bone marrow and Bordelaise. Sprinkled with malt vinegar and Hawaiian pink salt, Beef Cracklings, made with beef tendon, are similar to beer-friendly pork rinds, while Daikon Frites dressed with Chinese lap cheong, garlic chives and a spiced tomato jam dial up the savoury flavours.

At Z Bar, music sets the tone thanks to the work of internationally renowned DJ Alyson Calagna, a Denver-based producer whose global playlists and custom tracks, developed exclusively for the bar, create an atmosphere that is lively and consistently upbeat. The vibe is casual and soulful, evolving throughout the day and across the seasons and exposing guests to unique music from around the world.

On top of it all, Z Bar also offers a variety of classes and other experiences to take guests behind the scenes with the experts.

Participants can drink and learn with Wanderlust, a monthly series that dives into the world of spirits and teaches new techniques in a way that enlightens as much as it entertains.

Z Bar, 108 E. Superior Street, is open Monday through Thursday, 2:00 pm to midnight; Friday and Saturday, noon to 2:00 am; and Sunday, noon to midnight.

Please call +1 (312) 337 2888 for further information or visit zbarchicago.com

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The Club Bar at The Peninsula Beverly Hills The Club Bar is a discreet, cosy and timeless place to meet in the heart of Beverly Hills Dark wood panels made of California birch and the deep leather chairs that circle the wide fireplace create a traditional yet timeless ambience, reminiscent of an elegant gentleman’s club, with a drinks list of rare single malt whiskies, scotches, tequilas and cognacs to match. Not to mention an extensive selection of wines by the glass, including the hotel’s private-label Keller The Peninsula Sonoma Pinot Noir.

Asian-inspired delights fill the menu at The Club Bar with dishes including ponzu-marinated Ahi Tuna and Avocado Tart with Wasabi, Papaya and Sesame Won Tons, Hoisin-Glazed Beef Satays and Shanghai Shrimp Noodles. The Club Bar’s à la carte dim sum is also a popular choice with guests, including favourites such as Steamed Shrimp Dumplings, Peking Duck Pot Stickers and Crispy California Spring Rolls, all served with Sambal Olek, Chinese Mustard and Soy. Pull up a seat at the bar or gather around one of the more intimate banquettes and watch Hollywood at work - except during awards season, when celebrities and VIPs fill the hotel for the Golden Globes, the Grammys and the Oscars, and The Club Bar is standing room only.

The Club Bar at The Peninsula Beverly Hills, 9882 S Santa Monica Blvd, Beverly Hills, California 90212, United States. +1 310-551-2888

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The Bar at The Peninsula Manila Located in the centre of Makati City, The Peninsula Manila has set the benchmark for luxury and sophistication for over four decades. Known affectionately as the ‘Jewel in the Capital’s Crown’ for its legendary presence in the heart of the Philippines’ primary business district, it is a luxurious haven of comfort, quality service and fine cuisine, and is as much a favourite with discerning locals as it is with visitors from overseas.

Just a few steps from Salon de Ning and a short walk from the hotel’s famous Lobby, The Bar at The Peninsula Manila echoes the dimly lit bars of La Antigua Habana in Cuba, and is the ideal setting to enjoy the signature Batangas Old Fashioned, or savour a malt whisky or a glass of wine and enjoy the conviviality of the bar, or simply sink into a sofa for a quiet conversation or a business meeting.

The Bar, boasting predominant colours of cobalt blue and dark brown, replete with plush armchairs and leather couches, is inspired by the character of an old school gentleman who enjoys a flavourful cigar and a crisp drink.

Patrons can also snack on a selection of locally-inspired small plates including Crispy Adobo Chicken Fritters with Pickled Papaya Salad; Seared Jumbo Lump Crab Cakes with Saffron Aioli, Capers and Dill; and Wagyu Beef Empanadas with Herb Salad and Sesame Scallion Chimichurri.

The Bar at The Peninsula Manila, Ground Floor, Makati Tower, The Peninsula Manila, Corner of Ayala and Makati Avenues, 1226 Makati City, Metro Manila, Republic of the Philippines.

Opening Hours: 9:00 am - 2:00 am daily. +63 2 8887 2888

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Chalet IN The SKY IMAGES: COURTESY OF THE PENINSULA NEW YORK

The Swiss après-ski spirit is reimagined at Salon de Ning at The Peninsula New York in the heart of Manhattan with two heated chalet-style domes designed for sophisticated winter parties.

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his winter, the West Terrace of Salon de Ning Rooftop Bar and Terrace at The Peninsula New York has been transformed into Chalet de Ning. This glamorous winter wonderland features two chalet-inspired domes where guests can warm up as the temperature drops. Perfect for large groups, private gatherings, or those seeking to experience the magic of New York from above, Chalet de Ning transports guests to the intimate snowcapped peaks of the Swiss Alps right in the heart of Manhattan.

Available through April 2020, Chalet de Ning welcomes guests into two heated domes furnished with plush sofas, Nordic-inspired lounge chairs, ottomans and end tables complemented by faux fur throws, cosy plaid blankets and Turkish-style rugs. A freestanding chimenea in the centre of the dome ensures guests stay warm all night long. Outside, a winter wonderland encapsulates the chalet domes, with Viridis Japanese Maple, winterberry, whitespire birch, spruce and juniper trees creating a naturally festive ambience.

A seasonal cuisine and cocktail menu at Chalet de Ning plays on the cosy après-ski vibe. Highlights include a Chalet charcuterie plate,

Spiced French Onion Dip with Sourdough Alpine Crisp, Shrimp Cocktail, Gingerbread-Spiced Chocolate Fondue and more. A handcrafted menu of specialty, seasonal cocktails are also be available to enjoy. Customised group menus are available for private events.

Chalet de Ning is open to the public Tuesday through Saturday from 5:00 pm until 1:00 am. Bookable for private events seven days of the week, the two domes can accommodate a full buyout of up to 50 people, with a complete buyout of Salon de Ning Rooftop Bar and Terrace accommodating up to 125 people. Chalet de Ning can also accommodate up to 30 people for a private seated dinner experience.

Guests seeking a more intimate experience can host a semi-private event in the small dome for 10 to 12 people or take advantage of two smaller igloos available on the East Terrace to enjoy a variety of cocktails or high-end bottle service.

Salon de Ning, The Peninsula New York, 700 5th Ave, New York, NY 10019, United States. For additional information or bookings, please email diningpny@peninsula.com or call +1 212-903-3051

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The ART of SPEED IMAGES: CHRISTIAN BAUER COURTESY OF BMW

“I love this car. It’s more successful than the ar t work ,” exclaimed Andy Warhol af ter his sweeping brush strokes had transformed the BMW M1. It took him less than half an hour to create the fourth exhibit in the BMW Art Car Collection.

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The choice of the winner fell on the BMW M1 in the powerful 470 hp racing version produced in conformity with Group 4 regulations.

40 years ago, this automobile both celebrated its sporting debut in the Procar Series and entered the annals of Pop Art history.

Against the backdrop of an old factory building in Cologne, Stephan Bauer choreographed a spectacular contrast between the brightly coloured vehicle and the dour grey of the abandoned industrial structure.

At a subsequent outdoor session, laser searchlights shrouded the BMW M1 in a positively mystical atmosphere. In both settings, the Art Car kept emerging from a completely new perspective – and always to perfection.

Warhol’s Art Car proved to be a dream subject for the recent photo shoot. The artist himself made things much more difficult for the photographers. 40 years ago, the cameras had hardly been set up when Warhol had already finished painting the bodywork in all the colours of the rainbow. As the artist explained later, his speed was a reflection of the statement made by his work of art: “I attempted to show speed as a visual image. When an automobile is really travelling fast, all the lines and colours are transformed into a blur.”

Very soon after the last brush stroke had been applied in June 1979, the BMW M1 emblazoned with start number 76 competed in the 24 Hour Race of Le Mans. German driver Manfred Winkelhock, and Frenchmen Hervé Poulain and Marcel Mignot successfully drove the vehicle to second place in its class and achieved a ranking of six in the overall standings, perhaps suggesting that the speed at which Warhol created the car’s unique livery may well have added power to its engine…

0 years later, enthusiasm for Andy Warhol’s transformation of the BMW M1 mid-engine sports car into the brand’s fourth Art Car remains unabated. Already world-famous at the time, the iconic American King of Pop Art shared the same passion with many automobile fans of that bygone era. And the fascination of the unique special vehicle created by Warhol has in no way dwindled.

Many fans regard Andy Warhol’s Art Car as the highlight of the entire BMW Art Car collection, and it is therefore hardly surprising that Munich-based automobile photographer Stephan Bauer spontaneously opted for the BMW M1 finished in the Warhol design when he was selecting his dream subject on four wheels.

Bauer (29) emerged as the victor in the Social Media Contest ‘Shootout 2018’ organised by BMW Group Classic and was subsequently given the opportunity to undertake an exclusive photo shoot with BMW Art Car Number Four. A series of photos was then created to mark the 40th birthday of the BMW M1 designed by Warhol, and they provide a completely new perspective on one of the most legendary vehicles in the history of BMW. Five photographic artists entered their best shots from the world of BMW classic cars in the ‘Shootout 2018’ competition held on the Instagram social media platform. BMW Group Classic joined forces with BMW Culture, BMW Motorsport, BMW M GmbH and BMW subsidiary companies in several international markets for the joint project. It focused the attention of young target groups on the numerous motorsport successes and record chases with vehicles and engines from BMW over the past 100 years. The prize for the winner was a photo shoot with a vehicle of their choice from the comprehensive collection of BMW Group Classic.

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60 Years YOUNG Originally developed out of Great Britain's need for a more fuel-efficient car, the Mini became one of the most recognised cars ever produced.

Original Mini production started in 1959 and was an instant success as of the most iconic vehicles of the 1960s and beyond.

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he original in the premium segment of small cars has reached its 60th birthday – but it is even younger than ever. It was just over 60 years ago, on August 26 1959, that the British Motor Corporation (BMC) proudly revealed the result of its development activities in creating a new, revolutionary compact car. And indeed, the public right from the start were able to admire no less than two new models: The Morris Mini-Minor and the Austin Seven. This double premiere of two almost identical four-seaters was attributable at the time to the broad range of brands offered by BMC in the market, but it was also of a very symbolic nature.

Lots of space inside with minimum dimensions outside, seats for four passengers, impeccable driving characteristics, superior fuel economy, and a very affordable price – this was the precise brief that the creator of the Mini, automotive engineer and designer Alec Issigonis – received from BMC’s management. And the brilliant ideas he implemented in developing this two-door car for a family of four had an impact quite sufficient for more than one single vehicle, an impact successfully carried over to other model variants.

This is why the Mini Van and Mini Estate also appeared on the market in the very first year of production of the classic Mini. And ever since the re-birth of the brand with the market launch of the MINI in 2001, the principle already applied successfully 60 years ago has once again proven its full value: a superior concept is always convincing in many different variants and renditions. Today, this still applies to the small cars - the MINI 3-door, MINI 5-door and MINI Convertible; for the MINI Clubman and the MINI Countryman in the premium compact segment; and soon for the all-electric powered MINI Cooper SE. They all show their individual strength and unique character, while inside they are one and the same car, a MINI. Right from the start, the very first sales brochures proudly presenting the Morris Mini-Minor highlighted the car’s clear and steadfast orientation to the future. But to what extent these prophecies would really come true, nobody would have really believed back then.

Now, 60 years later, it is a fact that very few car concepts have survived such a long time, and none of them has ever been converted into such a wide range of variants as the Mini.

One of the reasons for this outstanding success is that from the start the Mini met all the requirements of its time, whilst simultaneously

offering additional qualities. Measuring just 3.05 metres (120 inches) in length and selling at a retail price of £496, the Mini was simply perfect for small parking spaces and low budgets.

Through its driving qualities and the charming character of its proportions alone, the Mini was however also of great interest to the ambitious motorist seeking not only compact dimensions and superior economy, but also sporting performance particularly on bends as well as an individual style on the road.

In 1961, a very special variant of the car destined more than any other to create the legend of the classic Mini made its appearance in the second half of the year: the Mini Cooper.

John Cooper, the famous engineer and manufacturer of sports cars and a close friend of Alec Issigonis, had recognised the sporting potential of this new small car right from the start, when the first prototypes appeared on the track. He received the go-ahead from BMC’s top managers to develop a small series of 1,000 units of the Mini Cooper featuring a modified power unit enlarged to 1.0 litre and offering a maximum output of 55 hp.

The response to this car entering the market was quite simply euphoric, with only one further request from enthusiasts everywhere: even more power. So Issigonis and Cooper further enlarged the engine capacity to 1,071 cc, raising the output to 70 hp.

This made the Mini Cooper S a truly exceptional performer, and not only on the road. Finnish driver’s Rauno Aaltonen’s class win in the 1963 Monte Carlo Rally marked the starting point for a truly unparalleled series of outstanding successes in motorsport. The highlight, of course, was three overall wins in the Monte Carlo Rally in 1964, 1965, and 1967.

In 1969, the Mini Clubman joined the range as a slightly larger model with a somewhat different front end compared to the classic Mini. At the same time the Mini Cooper was taken out of production, being replaced by the top model in the Clubman range, the Mini 1275 GT. A number of other details also changed in 1969, the front sliding windows so typical of the classic Mini since the beginning being replaced on all models by wind-down windows, the door hinges on the outside being moved to the inside, and a special ‘Mini’ badge now stood out proudly on the engine compartment lid.

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Numerous special versions of the classic Mini with all kinds of highlights – from sporting to trendy, from distinguished to fresh – entered the market as of mid-1970.

Between 1980 and 1983 the model range was streamlined appropriately, with the Clubman, Estate and Van leaving production.

The only car left over was the classic Mini with its 1.0-litre power unit now delivering 40 hp. And customers, simply loving the car, remained faithful to this little performer for years to come, the five millionth classic Mini coming off the production line at Plant Longbridge in 1986.

In 1990 fans the world over were delighted to celebrate the comeback of the Mini Cooper once again entering the model range.

This special model was powered by a 1.3-litre engine, production of the 1.0-litre in the Mini ending in 1992 on account of growing requirements in terms of emission management. So from then on, all models came with the 1,275 cc power unit and fuel injection. Yet another new variant of the classic Mini made its appearance in 1991 as the last new model in the range, and this was the only Mini to originate not in the U.K., but in Germany. Like some tuners before him, a dedicated Mini dealer in the Baden region had cut the roof off the classic Mini, turning the car into an extremely attractive convertible.

And contrary to earlier attempts, the result was so good this time in its quality that the Rover Group, at the time responsible for the classic Mini, decided to buy the construction tools and production equipment for the Mini Convertible, which from 1993 to 1996 accounted for sales of approximately 1,000 units.

Production of the classic Mini finally ceased once and for all in the year 2000. In the course of time more than 5.3 million units of the

world’s most successful compact car had left the production plants in numerous different versions, among them some 600,000 cars built at Plant Oxford between 1959 and 1968. But even after 41 years, there was still a long way to go.

After a break of just less than a year, a new chapter in the history of this world-famous British brand opened up in 2001.

Taking over the Rover Group in early 1994, BMW paved the way for new perspectives for the Mini brand. The first step was to present a concept version of the MINI Cooper at the 1997 Frankfurt Motor Show, offering a preview of the new interpretation of this unique small car.

As a modern rendition of the Mini’s concept so rich in tradition, the new version for the first time combined the classic values of its predecessor with the demands made of a modern car set to enter the 21st Century.

The series production version of the MINI Cooper made its first official appearance in November 2000 at the Berlin Motor Show, the future-oriented interpretation of the original entering showrooms just a year later as the 85 kW/115 hp MINI Cooper and the 66 kW/90 hp MINI One. Featuring front-wheel drive, four-cylinder power units fitted crosswise at the front, short body overhangs and ample space for four, the new models successfully took up elementary features of the classic Mini. And while the exterior dimensions of the car were now larger, meeting modern requirements in terms of interior space, the design of the new model clearly retained the proportions so typical of the brand, as well as the unmistakable design icons at the front, the rear and at the side, thus boasting a clearly recognisable link between the new MINI and its classical predecessors.

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At the same time, the Mini built in Oxford stood out clearly as the first premium car in the compact segment, achieving a status strongly reflected by a level of safety uniquely high for a car of this class as well as the uncompromising standard of quality so typical of BMW. The new MINI also set new standards through its surprisingly agile handling, immediately moving right up to the top in terms of driving pleasure. This meant that the new model followed in the footsteps of the classic Mini, but now with a lot more power and performance thanks to the most advanced and sophisticated drivetrain and suspension technology.

Almost overnight, the new interpretation of this classic small car developed into a worldwide story of success. The introduction of new engine variants, to mention just one significant highlight, served to offer additional momentum, the MINI Cooper S with its 120 kW/163 hp compressor engine entering the market as an exclusive driving machine in June 2002, and the MINI One D just a year later, setting new standards in terms of all-round economy and efficiency as the first diesel in the history of the brand.

The desire to drive a MINI in the open air finally also came true much faster than in the classic model, with the MINI Convertible making its debut in Spring 2004. In the four years that followed, various versions of the convertible with its electrohydraulically operated soft roof were produced at the MINI Plant Oxford in the guise of the MINI Cooper S Convertible, the MINI Cooper Convertible, and the MINI One Convertible.

Showing tremendous success in the market, the MINI outperformed even the wildest of expectations. Indeed, it quickly

motivated the consistent continuation of this concept, taking up and fulfilling additional potentials as a new edition that continued many successful features and even made improvements to some areas.

Further enhanced in an evolutionary design process and thoroughly renewed in technical terms, this new MINI entered the market in November 2006. Following the motto “From the Original to the Original”, the design of the MINI already receiving the greatest praise everywhere was further refined in terms of numerous details highlighting even more the sporting virtues of this compact and agile performer.

New, even more powerful and, at the same time, far more efficient engines, together with the further enhanced suspension technology, served in this new generation to offer even greater driving pleasure so typical of MINI. Almost exactly one year to the day after the launch of the new model generation, the MINI model range was further enhanced by an innovative new concept in Autumn 2007. The MINI Clubman offered a reinterpretation of the traditional shooting-brake concept with a body 24 cm longer, a streamlined, extended roof contour and a hatchback. The wheelbase extended by eight cm successfully expanded legroom in the front of the car. The driver’s and passenger’s doors in the MINI Clubman were supplemented by an additional entry on the right-hand side of the car and the two wings of the Splitdoor at the rear opening to the side. The two-part rear door took up an authentic detail from the car’s classic predecessors – the Morris Mini-Traveller and the Austin Mini Countryman – back in the 1960s.

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An even more sporty design, optimised active and passive safety, a wider range of functions, and the latest generation of power units extended the model range by a new edition of the MINI Convertible in 2009. The opening and closing of the car’s fabric roof was now operated by an electrohydraulic mechanism – even while on the move at speeds up to 30 km/h – all within the space of just 15 seconds. The single-part rollbar also facilitated the incorporation of a large through-loading space between the luggage compartment and the passenger compartment.

On the brand’s 50th anniversary, preparations for the advance into another vehicle class were already well underway, and in 2010, the MINI Countryman was launched with the aim of enthusing additional target groups with the brand’s driving fun and individual style – not simply on all the world’s roads, but also beyond conventional carriageways. The new model for the premium compact segment was the first MINI ever to have a length of more than four metres, five seats, four doors, plus a tailgate and optional all-wheel drive.

The beginning of 2014 heralded the latest generation change in the MINI model range. The current offering in the small-car premium segment comprised the MINI 3 Door, the MINI 5 Door also presented in 2014, and the MINI Convertible, the latest edition of which lined up at the beginning of 2016. The new model generation continued its global success story with another evolutionary development of advanced design, optimised functionality, further enhanced driving fun and a variety of innovations in the areas of control, driver assistance systems and connectivity.

In the premium compact segment, the latest model generation of MINI also has two strong vehicle characters. The new edition of the MINI Clubman has mastered the leap into the higher car class with a definitively refined and mature vehicle concept. A significantly more spacious interior, four doors and five seats give the new MINI Clubman enhanced variability and allow it to meet aspirations beyond the urban traffic environment. The vehicle can also be optionally fitted with the ALL4 all-wheel power unit.

The future of the MINI feeling is virtually noiseless with local zero emission, but astonishingly powerful. Starting in 2020, the new MINI Cooper SE will give the segment of electric vehicles new momentum. The 135 kW/184 hp electric motor will combine sustainable mobility with characteristic driving fun, high-impact design and premium quality.

Once again, the British brand defines pioneering benchmarks for urban mobility with the new MINI Cooper SE. 60 years ago, the revolutionary design principle of the classic Mini created the foundation for maximum interior space on a minimal footprint. The modern reinterpretation for creative use of space and unsurpassed driving fun made the MINI the original in the premium segment of small cars when it was launched in 2001.

The new MINI Cooper SE now paves the way to a sustainable and yet highly emotional driving experience in urban traffic as the first premium small car powered by an all-electric drive unit.

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MINI and The Peninsula When The Peninsula Hong Kong celebrated her 81st anniversary in 2009, the Grande Dame received a commemorative gift of two special-edition MINI Cooper S Clubmans to add to her already world-famous vehicle fleet.

Gert Hildebrand, Head of MINI Design, was on-hand for the presentation of the two cars, which took place at the hotel’s anniversary gala. Accepting the cars on behalf of The Peninsula was Sir Michael Kadoorie, Chairman of The Hongkong and Shanghai Hotels, Limited.

In line with the hotel’s fleet livery theme, the two MINI Cooper S Clubmans were given a Brewster Peninsula Green paintwork with custom specific lettering on the doors and illuminated door sills. The Cooper S Clubmans also came with a roof rack, which allows guests to have extra space for their luggage or shopping. .

In 2010, both The Peninsula New York and The Peninsula Chicago unveiled their own two customised MINI Cooper S Clubman vehicles, and guests booking a suite at each hotel have free access to a MINI for up to three hours per day during their stay.

The chauffeured vehicles can be used for shopping excursions or sightseeing around Manhattan and Chicago.

Both hotels’ Chief Concierges have also developed a series of self-guided three-hour motoring tours for guests to enjoy. Guests can direct the driver as they wish within the city limits (within Manhattan in New York), or use the sample tours provided by the Concierges.

MINI Cooper S Clubmans are now a distinctive feature at most Peninsula properties around the world. The Peninsula’s order marked the first time that MINI has custom-made a car – similar to the hotel’s Rolls-Royce fleet with over 200 customised features exclusive to The Peninsula.

The personalisation process of these compact, yet dynamic, vehicles took over two years to perfect. Dedicated features include a tailor-made rooftop box, a mini-fridge, and an iPhone. Each car also includes a custom-illuminated Peninsula logo on door entry sills, leather finishing matching the existing Rolls-Royce interiors, and the signature Peninsula Green livery that adorns every vehicle in the hotel’s transportation fleet.

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TEXT: ANN TSANG IMAGES: COURTESY OF HIRO YOSHIKAWA

The second son of the 18th generation of a Japanese sake producing family, Hiro Yoshikawa spent his upbringing surrounded by creation and artistry. Today, he is heralded as a Master Jeans Wash Designer and is an advisor to the world’s leading denim brands. In addition, in 2013, he launched his own unique brand, Washi Jeans, each pair of which takes an astounding six months to make.

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ince 1672, the Yoshikawa family has been perfecting the art of sake brewing in the tranquil surroundings of the Ibuki mountains in Shiga prefecture in Japan. Hiro Yoshikawa is the second son of the 17th generation of this renowned sake producing family, and during his childhood he was surrounded by creation and artistry.

After studying economics for two years at the Aichi Gakuin University in Nagoya, Yoshikawa couldn’t decide what he wanted to do in the future, so he took a break for a year and went to Australia to study English at the University of New South Wales in Sydney before returning to complete two more years of university in Nagoya. One week after graduating, he moved to Hong Kong as he believed there would be a lot of opportunity for him there.

Yoshikawa’s pursuit of discovery led to him developing No.6 Washi paper yarn in 2003, a journey that took seven years to complete before being ready to weave into selvedge denim in 2010. Selvedge is

the narrow, tightly woven band on both edges of the denim fabric.

A selvedge end prevents the edge of the denim from unravelling and shows a clean, finished look.

Today, Yoshikawa is renowned as a Master Jeans Wash Designer, advising more than 65 of the world’s leading denim brands. His obsession with premium quality that balances innovation with respect for tradition and attention to detail is the signature of his own brand, Washi Jeans, launched in 2013.

Unlike the United States, which has only one remaining manufacturer of raw denim, Japan is home to many active denim mills that churn out the bulk of the world’s premium denim around the clock, mainly in the textile rich area of Okayama.

As well as developing his washi paper yarn, Yoshikawa manufactures his jeans in Okayama using special vintage Toyoda weaving machines which were originally made by Toyota before the company ventured into car manufacturing.

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The Peninsula: What is it that makes Washi Jeans so unique?

Hiro Yoshikiwa: Washi paper is made from a variety of trees and through a defined process involving cold, natural running water and other elements to eventually deliver a refined, strong and superior paper product used in all types of creative and functional endeavours. Paper is one of the main mediums for Japanese creative arts – not just as a blank, flat canvas, but in other guises, too.

Washi Jeans use an indigo dyed fabric woven from a combination of cotton and washi paper yarn to make the most exclusive raw denim jeans, woven exclusively for us by the revered Shinya mill on vintage Toyoda weaving looms operated by true craftsmen who are dedicated to delivering an exceptionally high level of quality.

the hand finishing All these factors are important, but when it comes down to it, what really makes people feel good about a pair of jeans is the fit.

Ask any denim expert and they will tell you that it is impossible to make a jean that completely satisfies both an Asian and a Western fit, but in fact that is now not the case. After many exhausting and time-consuming fitting exercises over two years, Washi has those fits.

These are jeans that truly cover the world.

TP: Everyone in the denim industry acknowledges that the best washes and hand finishes come out of Japan. It is possible to do things there which laundries and developers in other countries can only dream of achieving?

HY: I treat the process of developing a pair of finished jeans as an artist would in creating a unique piece of work. It is a detailed and painstaking process undertaken with the help and guidance of a team of artisan workers in the laundry in Japan. Washi jeans are made in extremely limited quantities to further enhance the rarity and exclusivity of the finished articles. No more than 50 pieces of each fit and wash will be made at one time With its rich history of producing textiles, and Kojima credited as the birthplace of Japanese denim, nowhere in the world does so much care go into producing a single pair of jeans as it does in Okayama.

TP: What is it about washi paper that makes it so special for you?

HY: I grew up in a home surrounded by washi paper walls (shoji) when I was young and I learned how washi paper makes the rooms warm in winter and cool in the summer. It became a fascination for me. And then I found my grandfather’s accounting book at home which was made from washi paper that was a few hundred years old, but still in perfect condition despite its age. So eventually I decided to develop a new type of jeans using paper.

TP: A single pair of Washi jeans takes almost six months to produce.

Why so long?

HY: Once the sewing is done, the jeans are washed more than 20 times, they go through a natural drying process, and finishing hand treatments before they are finally complete. Excellence is no accident. Practice makes perfect is not only a saying, but an attitude. True value is born from the most detailed craftsmanship.

The Peninsula: Do you consider yourself to be a perfectionist?

HY: Our pursuit for perfection has been relentless. I dedicated over 10 years to developing our unique washi indigo denim fabric, never taking the easy path, but instead embracing the journey of discovery.

What others thought would be too difficult, we rose to the challenge.

When we couldn’t find the perfect washi paper yarn, we decided to make our own: Number 6. Its thickness and texture is unparalleled and gives even the most seasoned yarn weavers cause for admiration.

TP: What’s important in terms of a pair of jeans?

HY: Different people have different opinions on this subject. It could be the brand itself, the fabric, the way it is put together, the wash, or

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The DRIVE to SUCCEED IMAGES: COURTESY OF ROLEX

Driven by its universally recognised excellence, Rolex has built upon its own defining heritage in watchmaking to embrace the spirit of tennis. The brand’s passion for exacting performance is shared with the leading tournaments and players it partners with worldwide.

20 Grand Slam winner Roger Federer

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Caroline Wozniacki, Winner of the Australian Open 2018

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olex has for long supported the world’s most prestigious tennis tournaments, the leading players and the sport’s major organisations. From the four Grand Slam® tournaments – the Australian Open; Roland-Garros, The Championships (the French Open); Wimbledon, and the U.S. Open, to Testimonee Roger Federer, Rolex has been a loyal and enthusiastic partner of tennis for more than 40 years, during which time it has built a rich legacy of championing excellence and helped to maintain the sport’s traditions.

Rolex’s presence at the heart of tennis is also centred on the brand’s close ties with the bodies that govern the sport, including the men’s Association of Tennis Professionals (ATP). The brand is also associated with the ATP’s and Women’s Tennis Association (WTA)’s end-of-season championships, respectively: the Nitto ATP Finals; and the Shiseido WTA Finals Shenzhen. Rolex also sponsors the leading international men’s team competition, the Davis Cup, an event steeped in history and one that embodies exemplary sportsmanship.

The brand counts among its Testimonees some of tennis’s most distinguished players, including Roger Federer, winner of an unprecedented 20 Grand Slam men’s singles titles, as well as established talent including Juan Martín Del Potro, Grigor Dimitrov, Caroline Garcia, Angelique Kerber, Caroline Wozniacki, and Sloane Stephens, amongst a host of others.

These partnerships build on a tradition that began in 1978 when Rolex first forged its association with Wimbledon, the sport’s oldest and most revered tournament, and such tennis legends as Björn Borg, Stefan Edberg, and Chris Evert became a handful of the brand’s earliest Testimonees.

The world’s first lawn tennis championships have stood as a beacon of sporting excellence and ideals since their inception in 1877.

The event holds a special place among Rolex’s sporting partnerships, marking the start of its blossoming relationship with tennis and an alliance with a bastion of the sport whose ethos mirrors its own. Like Rolex, the All England Club maintains the traditions that have served

it so well, while always keeping an eye to the future, prepared to refine and improve by increment the cherished institution that is Wimbledon fortnight.

Since 2008, Rolex has been Official Partner and Official Timekeeper of the Australian Open, dubbed the “Happy Slam” for its festive spirit by Roger Federer, who has won the event six times, most recently in 2018. The first of the four annual Grand Slam tournaments, the Australian Open attracts a phenomenal number of tennis enthusiasts who gather at Melbourne Park in January each year under blazing southern summer skies for an event which is also broadcast to millions of television viewers in more than 200 countries.

In 2018, Rolex became Official Sponsor and Official Timekeeper of the U.S. Open. As a major sponsor of tennis, it was only natural that the brand build on its heritage through an association with the last of the four annual Grand Slam tournaments, completing a cycle of élite level support that culminates in New York at the end of the summer.

In 2019, Rolex completed its support of all four Grand Slams by becoming a Premium Partner and Official Timekeeper of RolandGarros, The Championships, as well as Official Partner of the French Tennis Federation. The second of the four Grand Slam tournaments, which dates back to 1891, has been held at Roland-Garros Stadium in Paris since 1928, staged over two weeks in late May and early June. It is the only Grand Slam event held on clay, a surface considered to be the most demanding physically, requiring players to use all their skill and endurance.

The roots of Rolex’s affinity for sports and human achievement can be traced back to the pioneering origins of the company. When founder Hans Wilsdorf set up his watchmaking firm, he was influenced by the swift changes sweeping through society at the beginning of the 20th Century. In an era when wristwatches were still regarded as fragile items of apparel, he was determined to create one that would be robust, precise and reliable, adapted to ever more active and sporting lifestyles.

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ONE To WATCH

Dolce&Gabbana’s new line of timepieces ‘Manifattura Italiana’ marks the first time that the brand has presented its own exclusive movement, the DG 01.01 calibre, entirely assembled by hand by the master watchmakers of Geneva, and which reflects the designers’ love for the human touch and Italy.

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bears a historical reference to the hora italica, a method of calculating time that divided the day into 24 hours of the same duration, starting from sunset, which was considered the twenty-fourth hour. This system spread in the 14th Century and can still be seen today in the mechanical clock preserved in the counter-façade of the Duomo of Florence and in the Clock Tower in the Piazza San Marco in Venice. From these facts, the two models featuring the DG01.02 movement were named Florence and Venice. The watches come in a numbered limited edition of 10 pieces per variation of model.

In the ‘Venice’ model, the solid and imposing calibre, with its 30.50 mm diameter and 4 mm thickness, is equipped with a self-winding device with a new generation micro-rotor. It runs at 21,600 vibrations per hour and its barrel can store up to 58 hours of power reserve when fully wound. The variable inertia balance features gold adjustment weights and a flat hairspring.

The mainplate and bridges are given a brush-finish by hand and then gold-plated to preserve them from oxidation.

The escapement, which uses a balance with a flat spiral, regulates its frequency through the compensation of the balance, while a series of suitably positioned micro-counterweights in gold that can be manually adjusted by the watchmaker, assure better stability of frequency and, consequently, greater precision. This striking timepiece comprises a total of 209 parts.

Ranked number four by the British edition of GQ magazine in its list of ‘Best New Watches at Baselworld 2019’, ‘Venezia’ is definitely one to watch…

wo years ago, during Baselworld 2017, Dolce&Gabbana made its independent debut in the world of Haute Horlogerie with the designers presenting four Baroqueinspired, immaculately engraved unique pieces to critical acclaim.

Two years later at Baselworld 2019, the brand further upped the ante in the horological game with the unveiling of its own proprietary movement.

Dolce&Gabbana continues to focus on handmade objets and the brand’s latest timepiece collection, Manifattura Italiana, is an exclusive line of watches that reflects Domenico Dolce and Stefano Gabbana’s passion for the human touch and all things Italian, two key elements at the heart of the brand’s DNA. The art of engraving, inlaying and cutting gemstones undertaken by the finest craftsmen in Italy make these creations unique, collectible masterpieces. The inspiration for the six models of the Manifattura Italiana line and their variants comes from prominent Italian cities and their historical and architectural features: the energy of Milan, the history of Palermo, the passion of Naples, the beauty of Rome, the goldsmith tradition of Florence, and the charm of Venice.

While the creativity in the decoration of cases, dials and bracelets is wholly Italian, the engineering accuracy and precision of the mechanism are Swiss. With Manifattura Italiana, Dolce&Gabbana has introduced DG 01.01, its own exclusive movement entirely assembled by hand by the master watchmakers of Geneva.

A further complication has been applied to the mechanical DG 01.02 movement which, with a special device for multiplying the hour wheel, allows a division of the dial into 24 hours. This complication

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VENEZIA TECHNICAL SPECIFICATIONS 18 kt pink gold, black alligator strap GEMSTONES Dial 1 sardonyx shell cameo, round shape, hand carved: 7.30 cts 1 black jade (nephrite), black colour, half-moon shape, flat cut: 1.75 ct 1 cacholong, white colour, half-moon shape, flat cut: 0.95 ct Crown 1 black diamond, round shape, rose cut: 0.18 ct MOVEMENT DG 01.02 Automatic calibre with classic escapement, 24-hour dial GENERAL INFORMATION Integration diameter: 30.00 mm Total diameter: 30.50 mm Movement height without aiguillage: 4.00 mm Movement height with aiguillage: 6.30 mm No. of parts: 209 Numbers of jewels: 30 Movement type: Automatic – self-winding Power reserve: 58 hours (tolerance 0/-3 hours) Frequency: 21’600 vibrations per hour (3Hz)

TECHNICAL DATA Constant force M0: 380 g*mm Barrel wheel total revolution: 12.2 Barrel wheel revolution per hour: 5.15 Mainspring type: slipping bridle Spiral type: flat spiral Balance wheel type: balance wheel with gold micro mass weights, variable inertia Escarpment wheel: 15 teeth Balance wheel inertia: 10.00 mg.cm2 Lift angle: 46° Calibre weight: 14.70 grams Rotor material: sintered metal made of tungsten carbide Rotor weight: 2.70 grams

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THE Penultimate

Image: Eleanor McColl The Penultimate: The Year of the Rat The Rat is the first of all of the zodiac animals. According to one myth, the Jade Emperor said the order would be decided by the order in which they arrived to his party. The rat tricked the ox into giving him a ride. Then, just as they arrived at the finish line, the rat jumped down and landed ahead of ox, becoming first. For this reason, the Year of the Rat is considered to be a year of new beginnings and renewals.

In Chinese culture, rats are actually seen as a sign of wealth and surplus. Because of their reproduction rate, married couples also prayed to them for children.

The Metal Rat Year is going to be a strong, prosperous, and lucky year for all Chinese zodiac signs. Everyone will show determination regarding their goals, aspirations, and even their hobbies. This is also a great year for founding and evolving.

Those who plan to buy real estate, to start a business or to invest money in a long-term project great chances of being satisfied in the future. But, you must exercise caution, as these types of initiatives will only be successful if they are carefully planned.

All the actions initiated this year are driven by success. You need to follow your goals with confidence and determination. You have to be relentless in order to accomplish your objectives and never let yourself be discouraged by failure, problems or difficulties.

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