The Review - Cillian Murphy

THE

REVIEW ‘LIFE. STYLE.’

THE IMF

SARDINIA

FERRARI FAMIGLIA

CLIMATIC CONCERN

Story by Aaron Edgeworth

ROUNDTABLE

NEW NORDIC MANIFESTO

Story by Benjamin Norris

THE SHORTSTAY Story by The Editors

LIBATIONS WHISKY DIARIES Story by The Editors

GOTHENBURG Story by Benjamin Norris

NATURAL

HORSEMANSHIP

Joelle Smout & Ruud van Rheenen

LEICA

DB12

THE MONACO AFFAIR Story by Roger Chan

THE M11

Story by Roger Chan

Cillian Murphy ANYONE FOR A MANHATTAN? S23

THE REVIEW 2013 1

From the desk of

THE LIFESTYLE EDITOR PETER J ROBINSON BENJAMIN NORRIS JOHN STERLING MAT HAMILTON GREEN

Managing Editor Lifestyle Editor North American Editor Publishing and Technology Director

BOBBY REYES SARAH MORGAN

US Style Editor Global Travel Editor

KIMBERLEY SAWYER

Director, Finance & Operations Business Manager

DAVID MAHONEY SUSAN RICE CLAIRE TINDRED

Advertising and Marketing Coordinator Sales Director

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Much of 2023 has thus far been epitomised by binary divisions. There were the age-old battles of us vs them, right vs left, the old and established vs the bold and the new.

Identity politics and gender entered the field with a newfound blaze of indignation and ferociously unwavering opposition, the battle of the sexes waged onwards inconclusively, and pop culture revelled in the cynical division between a dayglo pink movie about a living doll and one about the dark night of the nuclear soul.

It was, as it ever is, a tale as old as time. Pitted against one another in matters both trivial and grandiose, society is reduced to easilymanageable and easy-to-market-to tribes. Red or blue. Monarchy or republic. Android or Apple. Out-of-touch Boomer or snowflake Gen Z. Friend or foe. Coke or Pepsi. Oh, for a little unity and consensus, or a rediscovery of a centre ground from which to grow - who knows what lies beyond such petty squabbles?

At The Review, we’re not in the business of division. Our discerning eye is focused on the timeless, the hard-won and proven, the objectively wondrous and the tried-and-tested.

Away from the whims of temporary fads, we’re able to ground ourselves safely in the knowledge that some things are worthy of their reputation for excellence. That’s not to say we’re not on the ball or stuck in the past - quite the opposite, in fact. New frontiers in luxury - including my forays into West Sweden’s latest dining encounters coupled with the updated opulence of Budapest’s timeless art nouveau glories, both laid out beautifully in this issue - always await discovery.

Yet such new frontiers are built upon foundations of expertise, countless hours, days, years and centuries of craftsmanship, and the symbiotic relationship between a will to pay homage to the past while pushing forwards to bright, bold and beautiful futures.

That’s the essence of this issue, proudly presented with a united passion for excellence that supersedes any inevitable contrasts within the topics of travel, motoring, finance and more.

Our cover star is Cillian Murphy, an actor at what may be the absolute peak of his powers. I first came across Cillian’s commanding screen presence during his collaborative years with director Danny Boyle - seeing him stagger around an apocalyptically abandoned South Bank in 28 Days Later was a regular treat in my former student house - and it has been thrilling to watch him grow from strength to strength, leading him towards what many (depending, again, on which side of the 2023 culture war you took up arms) would argue to be the movie of the year. Disarmingly charming, eerily talented and fully deserving of his time at the top, we’re delighted to have Cillian leading this issue.

As if that wasn’t enough, we’ve also got travel dispatches from the vintage glamour of old Marrakesh and Prague, Dubai’s latest shootfor-the-moon destination, and an in-depth discussion with the movers and shakers of the luxury travel hospitality scene. We’ve got the timeless elegance of a Ferrari-hosted spin around Sardinia, a love letter to Italian scooters both old and new, and an exploration of Aston Martin’s pioneering DB12. We’ll uncover a kaleidoscope of beauty innovations, fine spirits, horology and perfumery, and offer expert insight from a climate economist at the IMF - one whose knowledge and vision helped negotiate the Paris Agreement that may just pull us back from the brink of catastrophe.

If that’s not the kind of content we can all unite and get behind, I don’t think there’s much more I can say to you.

Benjamin Norris Lifestyle Editor

THE REVIEW 2022 9

the agenda

COVER

CILLIAN MURPHY

P-20

MOTORING

FERRARI FAMIGLIA

P-28

FINANCE THE IMF

P-36

TRAVEL

THE ROUNDTABLE

P-40

EQUESTRIAN

NATURAL HORSEMANSHIP

P-50

T

L

P

TECH

DINING

P-58

P-67

LEICA

GOTHENBURG

CULTURE

MARK DAVYD

P-72

BEAUTY

TECHNICOLOUR SUMMER

P-76

AUTOMOTIVE DB12

P-86

TRAVEL

BUDAPEST

P-96

THE REVIEW 2023 13

THE ELECTIVE THE CLINIC HOLLAND PARK

P-103

TRAVEL

MANDARIN ORIENTAL

P-108

TRAVEL

BIKING VESPA

LIBATIONS

P-120 P-127 P-114 MARRAKECH

WHISKY

AUTOMOTIVE

AUDI TT AND R8

P-134

TRAVEL THE PIG

AUTOMOTIVE BEYOND ACQUISITION

P-143 P-148

TRAVEL

WORLD ISLANDS

FINANCE

P-155 P-160 REVOLUT

FRAGRANCE FREEDOM

FASHION

P-165 P-172 SUNGLASSES

THE REVIEW 2023 15

1

Contributors

AARON EDGEWORTH

NAOMI LAKE BEAUTY EDITOR

GLOBAL TRAVEL EDITOR

SARAH MORGAN

BENJAMIN NORRIS

PETER J ROBINSON

Gregarious, opinionated, and a destroyer of cocktail menus, Aaron provides automotive content stemming from years of passion and work in the industry. A keen eye for design and a horder of factoids are combined with a love of architecture, good food and the occasional party. Mostly found avoiding public settings.

Lake is a makeup artist, hair stylist, model and creative director. She comes to the table with over a decade of knowledge in the industry.

When she’s not on set or in a meeting, she’s in a yoga class, checking out a new restaurant or exploring the menu of a cocktail bar, in the pursuit of the perfect Negroni.

Sarah’s career spans three decades across travel, hospitality and leisure campaigning. When she’s not in the capital consulting for the travel industry, she’s working on launching a new travel series. With a firm belief in holistic therapy and healthy living (well, to a point), a yoga retreat in some exotic, far-flung place is never far away.

Norris is a copywriter and journalist from Bristol, England. He works regularly with some of the world’s leading luxury brands, and splits his time between the UK, Germany and Hungary. Norris also has a penchant for Alsatian wines and dodgy 80s synthpop.

Robinson is The Review’s managing editor. Having spent the last decade spanning both visual and print media, he has filed interviews across the political spectrum with the likes of Sir David Frost and Donald Trump.

Robinson founded the magazine’s sister company, Screaming Eagle Productions, in 2015.

ROGER CHAN

IAN DIGMAN CONTRIBUTOR

ASSISTANT TRAVEL EDITOR

FLOREAN SMOUT

ROSE MAZILLIUS

MARVIN MONEKENE

Roger is a proud child of two Hong Kong immigrants, born and raised in Essex.

His passion for cars was spaked by his father, supported by film and video game franchises of the late ‘90s and ‘00s. His love affair with food stared similarly with Chinese cooking prevalent throughout his childhood. Chan is now a London based photojournalist and content creator working with brands such as Michelin, McLaren and Bentley.

Automotive kingmaker Ian Digman’s illustrious career spans over four decades and includes senior roles at Ford, Volvo, Nissan, INFINITI and, most recently, McLaren.

That’s when he isn’t giving guest lectures on engineering excellence.

Digman will be writing a regular column for The Review on anything with wheels.

When she’s not in the UK designing luxury travel itineraries for her exclusive clientele, you might find her relaxing at home in the Dutch Lowlands. In addition to pursuing her appetite for culinary and cultural experiences, a full-time job we’re told, Florean splits her time between The Review’s Travel and Style teams.

After graduating from Goldsmiths Rose began a professional career in the arts at The Royal West of England Academy, Arnolfini, Victoria and Albert Museum and the Whitechapel Gallery.

Rose joins the team this year to bring you her pick of the worlds finest art exhibitions, auctions and museum tours.

L’homme, le mythe, le Monekene. Marvin is a Development Producer covering the French Riviera and Paris working with a host of documentary and commercial clients. When he’s not on set, you’ll find him indulging in fast cars and fine food.

MOTORING EDITOR

FEATURES WRITER

LIFESTYLE EDITOR

FEATURES WRITER

MANAGING EDITOR

DEVELOPMENT PRODUCER

THE REVIEW 2023 17

The Destroye

Christopher Nolan’s Oppenheimer dramatically rich biopic of the theoret the “father of the atomic bomb”. It is a sophisticated epic, spanning m

COVER: CILLIAN MURPHY

er of Worlds

is more than just a historically and tical physicist who became known as a sprawling, complex, psychologically multiple timelines and genres.

THE REVIEW 2023 21

T

“I read the whole

he film explores the personal and professional life of J Robert Oppenheimer, his scientific breakthroughs and moral dilemmas, his alleged love affairs and legal battles.

But above all, Oppenheimer is a horror film, and one in which Cillian Murphy delivers a stunning performance as the brilliant but tormented Oppenheimer he who creates a monstrous force the likes of which mankind cannot comprehend. Murphy’s piercing eyes convey the anguish and despair of a man who sees too much, too late. The film is indeed rightly tipped to win as many Oscars as the contributing scientists did Nobel Prizes. As Long before Cillian Murphy was “the destroyer this is Murphy’s sixth collaboration with Nolan, of worlds” or Shelby - he of Peaky Blinders notoriety - he was Jim, a coma victim who it would be apt.

thing in Chris’s Hotel room there and then.

It was one of the best scripts I’d ever read in my life

”

awakes in St Thomas Hospital 28 days after an apocalyptic virus is released in Great Britain. Jim finds the hospital and central London deserted, save for the infected, of course. Those opening scenes of Murphy wandering the streets of London in hospital scrubs carrying a single plastic bag shouting “Hello” are still haunting to this day. Even more so when compounded by the actual pandemic.

Those harrowing opening shots of an abandoned London (if only wishing made it so!), included footage shot on the Canon XL1.

Incredible when you consider the film’s budget was around £5 million. We’ll leave the reshoot of the film’s ending to one side, and instead focus on the fact that Danny Boyle’s 2002 genre hit generated $85.7 million worldwide despite

CILLIAN MURPHY AS OPPENHEIMER its limited US release on fewer than 1500 screens across the country. We can’t see Nolan or cinematographer Hoyte van Hoytema trying to wrestle a Panavision Sphero 65 onto an XL1 for Oppenheimer. Nolan actually first set eyes on Cillian Murphy in an advert during the film’s press tour, and there’s no denying that 28 Days Later arguably hit the cultural zeitgeist in a very real way, catapulting Murphy to the top of many a call sheet.

Oppenheimer with a budget of well over 100 wants me to be in a movie I will be there. I think million US, what must Cillian be making of his it’s the biggest film I’ve made. first leading role for Nolan?

So he calls? He writes? He sends a car?

Was there any advance warning from an agent or Chris’s team that he wanted you to play one He called me out of the blue, you know. That’s of the most recognisable historical minds of the his MO. I think he enjoys that. I genuinely 20th century? didn’t know what it would be though. Actually, Emma called me and put me onto Chris. He’s No. But I had always wanted to play the lead in so understated and self-deprecating and, in a Chris Nolan film - who wouldn’t? I have always his very English manner, just said, ‘Listen, I’ve With that in mind, standing at the precipice of said publicly and privately to Chris that if he written this script, it’s about Oppenheimer. I’d

THE REVIEW 2023 23

like you to be my Oppenheimer.’ We spoke at It took me a minute to actually comprehend and length and then I hung up the phone in utter then I realised - oh, that’s a huge responsibility. disbelief and had to sit down.

We talked it through in detail. He also told me the date we were going to shoot and so I I’ve heard that Nolan flew to Dublin to hand had six months, but I would have taken more. deliver the script in person back in September A lot of it was me just sitting in my basement 2020. walking around and talking to myself. You just read everything you can, watch all the archival He did, I read the whole thing in Chris’s footage and then go back to the script. Chris Hotel room there and then. It was one of wrote it and he knew exactly how we wanted to the best scripts I’d ever read in my life, and I tell the story, so it was a combination. You fly immediately knew that it was going to be a huge out to LA, you do camera tests, costume tests responsibility because he was trying to put the and just come at it very methodically. The man audience on Oppenheimer’s shoulder. seemed aware of his own potential mythology though, you know? From the pipe to the Nolan actually penned some of the screenplay porkpie hat. in the first person, didn’t he?

What resources did you pool from to get the cut and thrust of Oppenheimer himself?

There’s so much information out there, and you have to choose carefully what you absorb. There are so many elements to it; the physicality, the voice, the iconography of the pipe, even the way he walks. We just worked it out in detail with each other during that period and it was really rewarding.

I suppose the way I approach things is I try to come at it from an emotional and instinctual way rather than an intellectual way. It’s what I’ve learned over the years. I remember this amazing phrase Chris used. We were discussing Oppenheimer’s arc and Chris said, ‘You know, he’s dancing between the raindrops morally.’

That unlocked something in my mind when I We have this long-standing understanding and was preparing. trust and shorthand and respect. It felt like the right time to take on a bigger responsibility.

You’d always previously played a supporting And it just so happened that it was a fucking player in Nolan’s films. Even when he asked huge one…Any actor would want to be on a you to play a soldier with combat shock in Chris Nolan set, just to see how it works and to Dunkirk, you made it work with the Peaky witness his command of the language of film, Blinders schedule. the mechanics of film, and how he’s able to use that broad canvas within the mainstream studio We know each other pretty well and he knows system to make these very challenging human what roles might interest me, what I might stories…I’m really proud of the movie and I’m respond to, what challenges me. I have always really proud of what Chris has achieved. This said publicly and privately to Chris - if I’m was, for sure, a special one. available and you want me to be in a movie, I’m there. I don’t really care about the size of Speaking of being on a Chris Nolan set, the part. But yeah, deep down, secretly, I was IMAX is an incredibly complex format. desperate to play a lead for him.

Cinematographer Hoyte van Hoytema had to reach out to Panavision lens specialist Dan

Sasak to adapt a range of glass for the movie.

What’s the most noticeable change when you’re picture up from an actor’s perspective?

You do kind of get used to it as a Nolan veteran - I am used to the huge cameras and the racket they make. Hoyte van Hoytema is amazing so it doesn’t become a big deal. If you start thinking of your face at 80 feet… Well, you just can’t think about it like that. Chris never talked about it like that, he just cares about the performance, what’s happening in the moment and the truth of the scene.

I was told that you didn’t see any rushes or even playback on set.

This is a peculiar way that Chris works - you

THE REVIEW 2023 25

don’t see a frame of film whilst you are shooting.

There are no monitors, no video village, no playback. It’s weirdly liberating, as you’re never reflecting, you’re moving forward all the time.

I didn’t see a frame till the teaser.

and that brings something to the performance.

He allows you that freedom, he allows you space to find the character. And the scenes never, ever, ever feel rushed. The most important thing on set with Chris is the performances.

Sure, his films are so visually stunning and there It’s a profoundly moving and overwhelming are these amazing spectacles in there - but they experience, finally watching it. I was honestly always come second to the performances. “winded” by watching it the first time and I found it incredibly provocative. I watched it The performances are incredibly committed with my wife and son and we talked and talked and it’s a really gripping cast. Nolan put a lot for hours because the themes of the movie of focus on Kitty Oppenheimer, more so than are the biggest themes there are. You feel so the book. Emily Blunt’s performance is very compelled to watch what’s happening with moving. these people and how they’re drawn into the biggest of moral dilemmas.

In terms of the ensemble of actors, every day for me was a gift. Working with Emily (who You shot the majority of the film in Los Alamos, I’ve worked with before) I think really helped New Mexico. What was that setting and indeed give the history to Kitty and Oppenheimer. In set like in terms of your process? terms of Oppenheimer, he certainly wasn’t the obvious choice to lead the Manhattan Project.

Well, it’s a 360 set. When I first walked down They called him the great synthesiser because the main street, it just hits you. The crew there were many many things he could build threw this town in the middle of the desert up and accomplish, but he wasn’t the natural out of nowhere, because that’s where he felt first choice. When they gave him the job he romantically attached. It was amazing, but it’s was extraordinary, and Kitty saw that in him as always the case with Chris’s films. The actor well. That’s why she really pushed him. They experiences the world as the character would sustained that relationship. They really needed

each other but from the outside, it would appear entirely dysfunctional.

How much did you wrestle with the arc of the celebrated physicist becoming Prometheus incarnate?

After Trinity and after what happened in Japan, he was one of the most recognisable people in the world. Slowly he had to reposition himself afterwards and try and figure out where he stood with it all. It’s a very unusual journey for the actor, morally, and it was really interesting to play. I think probably it’s much more human because none of us are clear-cut and definitive in what we believe to be right all of the time.

When you think about what he lived through, the story of his life, it’s staggering. It’s this mad confluence of politics and science and war - the most exciting and terrifying time to live through. The story of his life is fascinating.

You’ve spoken about the level of focus needed to play the role during filming and I understand that everyone has a process. Does that process allow you to enjoy the production in a real way and were there any scenes that you particularly enjoyed working on?

One of the sections of the movie that I loved working on the most is the section in the room 2022, when we were in the hearing. We shot in this tiny shitty little room. There weren’t any movable walls or anything - it was just all of us in there with this huge camera and it felt almost like doing a play, because we were there for two weeks.

So, we had all these incredible actors like Jason Clark coming in and doing their piece. I found that emotional and heavy but in a brilliant way. It was a real challenge but that was a really enjoyable hunk of the movie in terms of shooting.

I have to say the score is totally enchanting.

It’s phenomenal, isn’t it? Chris has always used music and sound so extraordinarily in his movies, and for me this movie takes it to another level. I know the way Chris works and I know the level of excellence he expects, along with the kind of rigour and the amount of prep that he demands.

I’m going to ask a final question. Humour me 28 Years Later. Any prospect?

I was talking to Danny recently and I said “Danny, we shot the movie at the end of 2000 so we’re definitely approaching 28 years later”. I have always said I’m up for it, I would love to do it. If Alex thinks there’s a script in it and Danny wants to do it I would love to do it.

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La Famiglia Words: Aaron Edgeworth - Motoring Editor

What do you get if you put twenty Ferrari owners and their cars together in Sardinia? A war of egos to rival a global conflict? Bar tabs that would make an Emir wince? The decimation of local petrol supplies? I’m sure that there are a multitude of sentences that could follow and be the set-up for a pretty good joke.

The answer, however, is that one gets a weekend that will remain etched in the memory for years to come. It was exceptional. It was emotional. It was schvitzing.

I

nvitations. They come across the desk, and they are considered, sifted through and decisions are made. Or, they come from the communications team at Maranello, and then the question becomes how quickly can one respond in the positive. Considering my friends and family, contacts and acquaintances both close and distant, all lament my inability to respond to even the most urgent of communiques. I saw Ferrari, I saw Sardinia, dates be damned - I’ll make this work.

The reason for the invite? The Ferrari Customer Tour of Sardinia 2023. Ferrari, as some of you will undoubtedly know, hosts driving experiences for customers the world over. These are curated events that are tailored according to themes or

AU T O M O T I V E : F E R R A R I T O U R destinations, giving clients the opportunity to drive their own vehicles in some of the world’s most scenic spots, with some of the best-selected experiences to sit alongside the driving. Having visited Sardinia for the firsttime last year, I knew immediately that the vistas would be impeccable, the roads sublime, and the local traffic poorly trained. But in the company of like-minded individuals, and carefully curated food and beverages for the three days, slumming it ‘twas not.

I turned up as a late arrival, and I should add, not a Ferrari owner. I was whisked efficiently from Olbia via the ubiquitous S-Class, a short ride across to the base of the tour: the Petra Segreta Resort just outside of Porto Cervo.

This is a gem in the hills that involves a

slightly concerning meander down some really questionable Sardinian backroads, but what it does lead you to is an intimate low-built resort, nestled snugly in the rocky landscape this part of the world is famous for. A short hop to the room to refresh, and I made my way to the hotel’s expansive garden terrace where I met some of my fellow attendees.

The breadth of Europe was represented with attendees from the United Kingdom, Italy, Germany, Switzerland and Ukraine. I may have missed a couple - if I did, I certainly apologise.

There was a mix of ages. A mix of reasons. A mix of metal in the car park and at home. Yet one thing united them all: the Cavallino sat on the front of each and every one of their cars tucked up safely overnight. Despite the mixtures of background and hometown, they shared a love of firstly the automotive landscape, and secondly, the Ferrari brand that they had all very much bought into, both figuratively and literally.

The cynic in me is perhaps inured to the rather trite call of ‘family’ in the sense of brand association. With cars, it’s perhaps worse, with any mention of the word giving rise to visions of a vest-wearing Vin Diesel arguing with Dwayne Johnson about something or the other. But here, it felt very real. Very honest.

The guests chatted amongst themselves about recent trips with their cars and other Ferrari events attended. A couple had recently returned from seeing the Ferrari victory at Le Mans, serendipity indeed in their 75th year. I chatted with Lorenzo, the tour lead, about his background in racing and his love for Ferrari.

I was made to feel relaxed and as welcome as any other attendee. In fact, everyone was keen to share their experiences past and present.

They weren’t a cultish army, but a group of aficionados helping me get into the mindset of why they come, and come back again. Had it not been for the ferociously punchy watch line-up across the wrists, this could have been a meal anywhere with anyone; a gathering of people simply chatting about a shared passion.

I retired early to rest and gather my energy for the ride ahead the next day. We were to depart on a ferry to take us to the neighbouring isle of La Maddalena, a UNESCO world heritage site.

There are certain life experiences that elicit emotions that go above and beyond what is actually going on. Driving through a sleepy Sardinian village on a Saturday morning, flanked by 20 other Ferraris whilst the local population waved and gave thumbs up genuinely brought a lump to my throat. It all seemed so, so perfect. I had been afforded the loan of a Ferrari-owned 296GTS, their new

THE REVIEW 2023 29

pocket rocket. Tastefully optioned in Rosso Imola and Nero, the two-tone paint is reminiscent of the BBis of the 80’s and more recently the SP12EC made for Eric Clapton. The interior was a mixture of Sabbia and Nero and the now seemingly standard matte carbon bejewelled the majority of the cabin’s touchpoints.

Walking amongst the other attendees, I took in a couple more 296s, a California, multiple 812GTS’ and low and behold, a gaggle of SF90s.

One, a tailor-made Grigio example, was owned by a lovely UK lady attending with her husband.

Now, this was just a small part of a summer-long European tour she was undertaking with her car. With multiple stops and multiple revolving friends for the trip, it gave her the chance to enjoy her car across some wonderful vistas.

Why? Because she loves her car. That’s the pull, that’s the hook. Perhaps it’s presumptuous of me to say, but there was also absolutely no gender divide on the tour, so I can certainly see the allure over some slightly less polished events.

Ferrari has also just completed a ladies’ tour in Ibiza, which from the account of more than one attendee here, was a resounding success. They look to include, and that is admirable.

to a now not unexpected (but still wonderfully well-received) welcome by the inhabitants of the island. The Italians and their near neighbours seem to have a natural affinity with Ferrari, and we were left with no doubt that people’s days were being made brighter.

This seems as good a place as anywhere to interject with some information pertaining to the car in question. The 296 heralded part of a new era for Ferrari in the move towards hybridisation and the creation of this 120 degree turbocharged V6, dubbed internally as the mini V12. The hybrid, turbocharged V6

has also been the standard in Formula 1 since 2014, so Maranello is not short of experience.

Featuring a virtual cockpit, passenger display, Apple Carplay and the like, it is a supercar with all the day-to-day trappings that one requires for usability in the modern age. A shortened wheelbase makes for a car so lithe and responsive that it is difficult to reign in one’s urges, as it makes use of its power so easily. The hybrid addition to the drivetrain also provides up to 26 miles of electric power, should one want to silently glide through the foothills of whatever international paradise you may be

Our first kilometres took us through the surrounding countryside, where we stopped for refreshments at Gallincantu Stazzo Retreat - a sun-dappled property where snacks and a watermelon juice to rival crack-cocaine in its addictive properties were on offer. This isn’t a tour where one needs to seek out refreshments and find places to park. This is a tour where we were welcomed at each stop by flags bearing the company logo, and took pre-planned routes where pre-placed photographers dotted the landscape. It was what I imagine being an influencer is like if you have to do exactly none of what it entails. Thankfully.

Out to the Port at Palau. With as much subtlety as possible, we crept our way through the port town to line ourselves up to await the returning ferry. Immediately the locals, tourists, cyclists and tradesmen making use of the route sensed how special an occasion it was and walked, nay, skipped the aisles where the cars were parked.

Thumbs firmly up and smiles fully plastered as they had friends pose or posed themselves to immortalise the occasion. On the ferry, the walkway below the bridge became a viewing gallery and photo opportunity, as one and all jostled for the best vantage point from which to see all the cars together. That most of us, the attendees, were part of the scrum gives some indication of how special it was, and how - as I said - no one was bound by the chains of ego.

Set down a short twenty-minute journey across the Tyrrhenian Sea, we arrived on La Maddalena

THE REVIEW 2023 31

touring. Not this weekend. Set to hybrid to make use of the electric torque fill, progress can be rampant. Lorenzo gave a great mix of pace to keep us on our toes, and the periods spent within the car balanced seamlessly and at a perfect pace to the time outside of it.

Another lunch, bathed in the fierce Sardinian sun, was taken at a leisurely pace and with as much hydration as possible given the temperatures. The meal was punctuated by stories and anecdotes as attendees caught up on the previous hours driving, previous tours, or the last time they were with each other.

The return journey allowed for more of the same. A lovely trip via the ferry, another set of ferry passengers amazed by the presence of so many prancing horses and a whole new group of pedestrians to wow once out the other side. A drive to the hotel before evening entertainment meant that the journey was leisurely enough for us to take in both the views and the visceral nature of what it all represented.

Not knowing Sardinia well, I was amazed as

we were whisked via transfer to PHI Beach and ‘The Rock’ restaurant; a quasi-Ibiza beach club and restaurant famed for their sunsets, or at least their vantage point for sunsets. Now, I’m not really one for ‘club’ nights, and this,

“I can attest to the

fact that there is no better cure for one’s ills than a spirited morning drive in a convertible Ferrari.

”

in truth, was the latest I have been out for months. I may well have drunk more than my fair share. But the relaxed nature, and the lack of requirement to stand on ceremony to staff or guests alike meant that it was difficult not to just cut loose and have fun. The meal, as the meals that preceded it, was a mixture of Sardinian traditional fare and some of the freshest seafood possible. This was complemented, when it was appropriate, with some lovely wine, and one was under no illusions as to the overall quality of the tour organisation.

A real testament to all involved at Maranello and the wider ecosystem. The headache that punctuated my morning however? Well that’s a whole different story, with no one to blame or praise but myself.

My final day with the Tour was ensconced very much within the ultra-comfortable cabin of my 296GTS. A morning stop at a vineyard provided the interval to the fullest day of driving thus far. It was probably needed given the state of my head, but I can attest to the fact that there is no better cure for one’s ills than a spirited morning drive in a convertible Ferrari. I am

blessed with a strong constitution so nausea was not an issue, which was fortunate given the dynamic performance that the car offers. The speed at which it changes direction could have led to an accident for a less committed drinker.

I jest.

Again, the stops were a mass of chat and frivolity, because, well, that’s the point. It’s fun, it’s a break, it’s unabashed enjoyment - exactly as it should be. We spoke of many things, the attendees and I. I asked questions and listened eagerly because I was so interested in finding the reasons for their passion and also their assurance as to the brand, its ethos and the products that it would make. One example being, a wonderful, ebullient Ukrainian attendee and I were discussing the brand and his affection. He had brought with him an 812 GTS with an Oro stripe - there was over a year in discussion for that addition alone. He also mentioned he had laid a deposit for the new V12, a car he knows absolutely nothing about other than a part of the drivetrain setup. I asked why. His answer? He knows that he will want it, and has such confidence in the

brand that whatever ends up at the end of the production line, it will be a quality product he will be proud to have under ownership.

Due to the unfortunate skeleton nature of some flight paths, I had to leave the group at lunch to take my transfer across the isle and back to Olbia. I enjoyed a final flurry for an hour in the 296, and I was further regaled by the ease at which one can access her performance, and blown away by the tractability of the chassis and its poise and refinement over a variety of surfaces.

What did I take from the Ferrari Tour Sardinia 2023? Well, I am not a European Ferrari Challenge winner, I haven’t won the European Rally Championship, I don’t own a stately home nor am I as tall and good-looking as either of the Dutch gentlemen who were so graciously welcoming to me. Nevertheless, there was camaraderie in spades. There was a love, not only for cars, but in particular for one car alone. For a brand at the pinnacle of what they do - and this, funnily enough, was the great leveller.

These events aren’t so much a reward as a thank you. A thank you for the choice, for the investment. These are days where the headline is the experience and one that sits alongside, rather than above or below the product. I may have been overly harsh on ol’ Dominic Toretto, perhaps it really is all about family.

Special thanks go to Chiara Longo (Head of communications Ferrari Europe and Africa, Christina Anzel (Marketing Manager Ferrari Europe and Africa), Michele Comelli (head of Ferrari South Europe), and Lorenzo Granai (driving lead) All stood together to create a product and an experience that must be unrivalled in the ownership stakes. It was firmly their dedication to the cause that created such a special trip. Additionally, I must mention the innumerable support staff, the photographers who captured such wonderful imagery, the staff at Petra Segreta and those staff at all the stops where we were hosted and fed and watered with such grace.

Now, to go and buy a Ferrari…

THE REVIEW 2023 33

The Expert View Simon Black, IMF Climate Economist

I

Simon Black is an economist at the International Monetary Fund (IMF) where he advises governments on policies to reduce greenhouse gas emissions. Before joining the IMF, he was a climate economist at the World Bank, a climate economist at the UK’s foreign ministry, and served as a UK negotiator at the UN’s climate body where he helped negotiate the Paris Agreement. He has also worked in economic diplomacy and financial sector advisory.

n 2022, Simon was the IMF Staff Association’s Outstanding Young Leader for his work on climate change. He holds a master’s degree in international political economy from the London School of Economics and a master’s degree in international development (MPA/ID) from Harvard University, where he received a full scholarship as a Frank Knox Fellow.

burning thousands of years’ worth of this stored energy all at once in cars, power plants, homes, and factories, and releasing billions of tonnes of heat-trapping “greenhouse” gases into our atmosphere. This warms our world, nudging our climate away from a delicate equilibrium.

WE’RE SEEING THE HOTTEST TEMPERATURES ON RECORD ACROSS PARTS OF THE WORLD, AND JULY IS LIKELY TO BE THE HOTTEST MONTH IN HUMAN HISTORY. WHAT DO WE NEED TO DO TO STOP GLOBAL WARMING?

To slow warming, we need to rapidly remake the global energy system. This means decarbonizing electricity production and then using that clean electricity for most of our energy needs. For example, we need to drastically increase the amount of energy we get from capturing ‘today’s sunlight’ through solar panels. At the same time, we need to rapidly adopt technologies that can use this electricity such as electric vehicles and heat pumps for residential heating and cooling.

We need to shift humanity’s relationship with energy. Thought of one way, fossil fuels are ancient sunlight, captured and deposited by plants millions of years ago. By extracting fuels like coal, gas, and oil from the earth’s crust, we’re

If we can ‘green’ the production and consumption of energy, then we’ll be about two-thirds of the way there. But we also need to end deforestation, restore ecosystems, and make food production and consumption far

more sustainable. It’s a big challenge, and one where governments must step up with policies to accelerate the transition to climate-safe activities, while simultaneously addressing the world’s other problems like poverty and inequity.

HOW HAVE COUNTRIES AGREED TO MITIGATE CLIMATE CHANGE AND HOW IS IT GOING? I think many of your readers will be familiar with the Paris Agreement, the landmark treaty signed in 2015 by almost 200 countries to limit global warming to 1.5 to 2 degrees Celsius above preindustrial levels. Under this agreement, countries have committed to cut emissions of carbon dioxide (CO2) and other greenhouse gases, with developed countries pledging to move farther and faster while transferring finance and technology to developing countries.

The problem is that countries have voluntarily committed to cut emissions, but those cuts don’t

F I NA N C E : T H E I M F add up to anywhere near what’s required to hold temperature rises to 1.5 to 2C. Negotiators knew this when the agreement was created. So, by design, the agreement requires that countries

THE IMF FOCUSES ON GLOBAL MACROECONOMIC STABILITY. WHAT IS ITS ROLE IN CLIMATE CHANGE?

understand and mitigate these risks, firstly by advising on policies to reduce emissions without major economic disruptions and secondly, by helping countries adapt their economies and financial systems to a changing climate. We do this through our regular economic and financial dialogue with countries (‘Article IV’ and ‘Financial Stability Assessment Program’ reports), direct technical and financial assistance, and in our global economic analysis.

problem; that is, addressing it is critical to “Climate change the health of the global economy. If we don’t is what we call a sufficiently limit the rise in global temperatures while adapting to the warming that’s already ‘macro-critical’ locked in, economies around the world will suffer in myriad ways. For example, our research ISN’T THIS A BEHAVIOURAL problem; that is, shows that a single drought can lower an African PROBLEM? CAN’T PEOPLE SOLVE medium-term economic growth THE CLIMATE CRISIS THROUGH addressing it is critical country’s potential by 1 percentage point.

INDIVIDUAL ACTION? to the health of the The scientific community has long been sounding Unfortunately not. Although action at home the alarm on global warming, and most worrying through things like recycling and composting can global economy.” of all is the prospects of ‘tipping points’ in the make a contribution, alone they won’t reach the Climate change is what we call a ‘macro-critical’

gradually increase their climate ambition over time. But progress is slow. Since 2015, some countries have become more ambitious but the gap to what’s needed is still too large. Current country pledges (Nationally Determined Contributions, NDCs) would cut emissions by about 11 percent by 2030. But according to the world’s climate scientists, we need to cut emissions by 25 to 50 percent. So, even if countries achieved their targets we still would have only cut emissions by about one quarter to one half of what’s needed to limit global warming.

global system. For example, if methane and other greenhouse gases currently buried in permafrost are released rapidly into the atmosphere, this could accelerate global warming rapidly.

These and other risks are not well understood by economists, but the risks to economic and financial stability from such an event are stark.

Just think - sudden extreme weather could trigger mass migration and social and political conflict, while an abrupt shift to the low-carbon economy could lead to falling asset prices, losses in banking systems, and volatility in financial markets.

Our role as the IMF is to help countries

SIMON BLACK: IMF CLIMATE ECONOMIST

scale that’s required. The scale of the challenges requires more than just changing our day-to-day behaviours. Shifting energy systems means reshaping the global economy. Governments must lead with policies, with support across the rest of society – from major corporations and financial institutions down to households and individuals.

But the main thing we need is changes in government policies, which is what we provide advice on.

OK, BUT WHICH POLICIES DO WE NEED? Ultimately, what’s needed is to shift the incentives faced by businesses and households. The vast majority of the trillions of dollars of investments in the technologies needed to cut emissions will come from the private sector. However, governments have a central role to play in making that happen, including through the right financial sector frameworks, as well as through tax and spending policies.

Most people agree that polluters should pay for the negative impacts of their pollution. This is what a carbon tax does. By putting a price on carbon emissions firms are incentivized to make investment decisions that are aligned with decarbonization. We advocate for a carbon price across all countries, one that ensures that emissions are cut at the rate needed to address climate change while also respecting differences in development levels and historical responsibility.

But we need to go even further than just a carbon price. To achieve ‘net-zero’ emissions sometime around 2050 we need new technologies that are still under development; technologies like ‘direct air capture’ which suck CO2 out of the atmosphere. That means subsidising research and development in low-carbon technologies. Not all countries are well placed to do this – but those who do may see economic benefits through the creation of green jobs and industries.

THE REVIEW 2023 37

WHAT ARE THE MAJOR OBSTACLES TO ACHIEVING SUFFICIENT AMBITION AND ACTION? There are many. Among the biggest is reaching international consensus. Since 2015, thanks for rapid economic development in many places, the majority of annual greenhouse gas emissions now come from developing countries. But historically, developed economies have eaten up a far larger share of the Earth’s carbon ‘budget’, and most still have much higher emissions per capita.

“Protests erupted across Europe about the slow rate of progress on addressing the climate crisis, even in the midst of a global pandemic.

These efforts are not going to waste.”

The Paris Agreement recognizes this difference in historical responsibility as well as current capabilities – so developed countries committed to larger emissions reductions and transferring climate finance, to the tune of $100bn every year from 2020. However, this target was missed.

ARE YOU SCARED OR OPTIMISTIC ABOUT THE FUTURE?

So the situation we have now is that many developed countries have ambitious targets but are not transferring sufficient finance and technology to developing countries.

Meanwhile, many developing countries have less ambitious climate targets, and of course face other development problems including having to adapt to a changing climate. It’s a tricky situation.

It’s hard to not be concerned about the future if you work on climate change. In fact, ‘climate anxiety’ has become a common problem, especially among young people today who are increasingly putting off major decisions like having children because of their worry about our collective future on this planet. But to be honest, I’ve become a lot more optimistic about the future, for two reasons.

First, about a decade ago when I started working in climate, very few economists in governments were actively engaged. Now, I routinely engage with people in important ministries of government that both care and can potentially do something about it, given the right tools. It’s for this reason that we decided to create the IMF-World Bank Climate Policy Assessment Tool (CPAT). CPAT is a quantitative model we developed with the World Bank in order to help countries design and implement climate policies.

We’ve been working to make it a reality over the last five years, and we’re now routinely training countries in how to use it.

Second, more people – especially younger generations – are engaged in climate change than ever before. Protests erupted across Europe about the slow rate of progress on addressing the climate crisis, even in the midst of a global pandemic. These efforts are not going to waste.

Policy debates have shifted and climate is being discussed like never before. This is in no small part due to climate activists repeatedly sounding the alarm.

Ultimately, we need to address climate change for the future of our children and their children.

But we don’t have much time. So, the people in power today - in governments, in finance, and all parts of society - need to take action for the people of tomorrow. Though it’s far from certain, I’m increasingly optimistic that they will

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T R AV E L : S H O RT S TAY P R O P E RT Y

The Roundtable: Short Stay Property Words: Peter J Robinson & Benjamin Norris

To explore the prevailing wind of the latest travel destinations is one thing. To unpick the essence of luxury travel and hospitality, to unravel the nature of what a whole new generation of high-end holidaymakers are seeking, and to understand what is driving the shifting sands of travel trends is something else entirely.

THE REVIEW 2023 41

T

o gain a deeper and more profound insight into the lay of the land of travel and hospitality in 2023 and beyond, The Review - represented, as always, by Managing Editor Peter Robinson and Lifestyle Editor Benjamin Norris - sat around the virtual table with a cross-continental gathering of industry stalwarts and mavens alike. Wolf Worster of Siretti, whose portfolio of luxury villas regularly grace our pages and whose understanding of the travel desires of the luxury set are second to none, joined us alongside Susan Doull (founder of Commendable Rentals LLC), Jayne McCaw (founder of Jayne’s Cottages) and Roberto Pinto of Rentals Tulum.

traversed borders and delved deep into a fastchanging industry.

talking to Max - the founder of Le Collectionist.

Location of course is key; these are big-picture locations such as Mykonos, Marbella and Saint-Tropez.

Peter James Robinson: One’s definition of luxury private accommodation is largely personal and dependent on the individual’s tastes and Next would be the standards of operation. That’s proclivities. That doesn’t mean there shouldn’t be the service, the booking process, the arrival and standards and benchmarks, of course. departure, the communication between the house manager or property management staff, For me, luxury is about privacy, personalisation housekeeping and post service. The third and and exclusivity. It’s cocktail hour being observed final feature is the physical characteristics of the without fail each evening at Villa Cassinella on home; the furnishings and the private outdoor Lake Como. It’s indulging in the freshly baked spaces. Those are the three main areas that cakes at the Heinz Julen Loft in Zermatt before Sirreti considers to be most important when landing at Bond winery for a tasting with Max considering a property.

Kast. It’s notoriously hard to quantify in the Representing multiple facets of the contemporary wider sense, and especially without an exacting Roberto Pinto: In my case, it’s worth pointing travel industry and deeply entwined in the world and agreed standard. out that our properties are extremely remote. As of opulent getaways, stunningly appointed villas, you said, Wolf, the location is really important. jungle retreats and cultural hubs, our conversation Wolf Worster: The last time this came up, I was However, for us there’s the sustainability of

The Panel Wolf Worster Founder and CEO, Sirreti www.sirreti.com

Roberto Pinto Founder, Rentals Tulum www.rentalstulum.com

the property to bear in mind. The privacy of a beachfront jungle location is unrivalled, but that remote geography means having to provide local power off-grid, in order to ensure the same levels of high service and the luxury amenities guests expect. For instance, maintaining an air conditioning system that’s bordered by the jungle on one side and the beach on the other, whilst being sensitive to the ecology of the location, is a great example of luxury.

Jayne McCaw: I associate luxury with a decrease of stress levels and an increase in safety. It’s going into the Four Seasons hotel in a busy spot, and knowing that you are going to be taken care of. At my properties, I like the idea that I have a couple of staff with big smiles and uniforms, well groomed and attentive. The guest arrives and they know they are in capable hands in case anything goes wrong. It’s like

Jayne McCaw Founder, Jayne’s Cottages www.jaynescottages.com

flying business class; you just get that higher level of service. Luxury to me is also as much in the service and support as it is in the physical presence. Of course, the properties and presence is expected - it’s the top tier of the market.

Susan Doull: I like the word “cushioned” to describe luxury, both figuratively and literally.

When you walk into a place, you want to feel welcomed in a way that makes you feel - as Jayne said - secure. I would say comforted physically.

The staff will always be key of course; a great smile still goes a really long way. It’s always crucial that the guests feel important to the staff looking after them. Location, character, quality and decoration are also crucial, of course.

Susan Doull Founder, Commendable Rentals LLC www.commendablerentals.com

Susan Doull: I think it’s definitely changed people’s mentality. Before Covid, most of our places were not fully staffed. Covid moved people from luxury hotels and into rentals, and then they came with the same mindset. So now, our clients expect more staff, more comfort, more hotelgrade services as the two come closer together.

It’s not a new idea, but it’s a trend we’re seeing grow exponentially post the pandemic.

Wolf Worster: I totally agree with you, Susan.

A lot of the new luxury villa and chalet market is those clients coming from hotels and resorts. I hate to say it, but thanks to Airbnb for the years of pushing our industry. They’ve made it such an accepted form of accommodation now.

Peter James Robinson: In terms of the service Peter James Robinson: In terms of staffing levels and requests from guests post-covid, are you levels, are you finding more guests are opting to seeing any emerging trends? bring in their own teams or looking to reduce

people on the ground?

Susan Doull: I find that clients are asking for more concierge services instead. In fact, we’re almost doubling our revenue as a result of concierge services, and so it’s become a central part of the service offering as needed.

Benjamin Norris: Is that to do with the fact that luxury is less about staying in the interior and more about having a base to explore experiential travel? Rather than holding oneself up in that luxury accommodation and embracing that cushioning, as you said, but balancing that with the ability to go out to restaurants and the beach or the jungle, or being able undertake more of these experiential excursions?

Jayne McCaw: I agree with you. I think that since Covid, people want to live life as fully as

“we’re almost doubling our revenue as a result of concierge services, and so it’s become a central part of the service offering as needed.”

they can, so we are getting concierge requests for big ticket items. I also think that maybe people are doing bucket list trips right now, as budgets are increasing and people are spending a lot. I’ve certainly noticed that the people that are going for concierge services are going big.

Roberto Pinto: I totally agree with everybody on the concierge front. We have a full concierge team on the ground to create an exclusive experience. Clients want an experience, not just another luxury holiday. For us, the concierge is key to that and ensures the level of service.

Peter James Robinson: Are we seeing the increase in concierge service requests across all client demographics and timezones?

Wolf Worster: We have a data team, and we’ve identified that it’s definitely a much younger

Global Vacation Rental Market 2022-2026

2021

2026

Market growth will DECELERATE at a CAGR of

Incremental growth ($B)

Growth Contributed

by Europe

8.42%

79.30

37%

market than was the case even five years ago.

Definitely younger, and specifically from the Americas. The 25+ rather than the 35+, and while we don’t know where the disposable income is coming from for that age group, that’s what our research is revealing now.

that industry, in that the audience (against all expectations) is getting younger. The locations and the itineraries for sailing charter have shifted considerably, however. Whereas older generations owning or chartering had their established destinations - Monaco and Antibes, for example now we’re seeing the younger generation heading out to Antarctica. It’s quite the generational shift and rather an exciting time for the yachting side of the travel industry, and not to mention the amount of new marinas and turnkey luxury properties for owners or guests.

Jayne McCaw: I also think the 25+ demographic spends more money on average than other demographics. Our audience is getting younger, but I would say our market is 40s with families as opposed to the 60s with the grandparents. It also tracks that the older the So Jayne’s point very much stands. The younger clientele are, the more demanding they can be.

Young families, once they arrive, are pretty happy clientele are just spending in different ways. It’s often the same new or old money as there was for the most part.

30 years ago, but instead of investing in property and real estate, it’s being used in pursuit of the Benjamin Norris: We could compare the experiential. market shifts to luxury yacht charter. There’s been some very interesting changes within

Growth for 2022 - 2023

14.09%

Susan Doull: I have two different audiences.

The larger properties still tend to attract multigenerational family holidays where people get together. The audience hasn’t changed that much, but I also have smaller private properties for two to four people, and they tend to be a lot younger. Not quite so experienced or sophisticated, and perhaps those exploring Europe for the first time. They need a lot of hand-holding, but they love the experience and want to try and do everything.

Peter James Robinson: As always, we’re following the chain from wealth creation to generational distribution closely ourselves. Are the same service levels expected from the younger audience demographic?

Roberto Pinto: When the younger - let’s say Bitcoin - client travels with us, they make it clear

THE REVIEW 2023 43

from the outset they’re looking for ‘Instagram Spots’. They ask the concierge for these locations quite specifically in some cases, and so we plan and style their stays based on their needs. That tends to be the key for that market and it’s really fun for us, so we’ve gone so far as to create specific lists and itineraries too.

Peter James Robinson: Do you find that the individuals and brands that come to film or shoot stills engage and discuss their creative intentions and campaigns with you? Or is it a combination of the commercial influencer who’s entirely public, and the private individual sharing amongst a social group but can afford to purchase using existing means?

Jayne McCaw: It’s a really good point, because we’re approached by people who are already booked with us with sizable social media followings. If they’re well targeted to our market we’ll always try to do something really special, and we do tend to get good press from it. It’s about experimenting with what works.

Susan Doull: In some cases we sadly cannot work on that basis, as some owners - as you’ll all know - simply do not want the interior elements of their home made public. These tend to be the old character properties, though, where the owner requests that the approach be discreet. In many cases, it’s because luxury homes tend to be fitted and furnished with luxury products, so there’s a security element too.

Benjamin Norris: Going back to our previous point about definitions of true luxury, discretion was always very high on that list.

Perhaps that’s been eroded a little by the social media generation, who are more happy to put everything out there. It’s an interesting shift.

Jayne McCaw: We collaborate with a lot of media companies for high-end dramas and reality shows, and it’s really down to the owners and their personal preferences. Sometimes it’s appropriate, sometimes it’s not.

Wolf Worster: Peter and I have talked about this for a while; how brand collaborations can benefit a property, both in terms of exposure and shared IP on the created material.

Peter James Robinson: When we’re scouting for locations for shoots we’re always aware that it will come down to the owner’s discretion, especially if they’ve never thought to use a property as a film location before. It’s lucrative of course, which does tend to weigh the scale in favour. My scouting list is always fairly lengthy, and so in that vein, is anyone seeing any new emerging destinations or a return to old favourites?

Susan Doull: We’re focused on key locations, so we aren’t seeing great shifts. However, we’ve moved out into more remote properties which is very popular in Italy, as it disperses tourism. There’s less damage on cities and on overpopulated areas, and we like that a lot. All over Italy there are these little villages that have almost died as the local population move out to more populated areas. So these beautiful old villages are being bought up as investments and turned into hotels. It’s a really valuable thing from a sustainability standpoint, and so we’re going to start adding to the portfolio from that pool.

for the week.

Peter James Robinson: Sustainability is an

Interestingly, I was just at a B2B trade show in Quebec, and I met a lot of Asian travel professionals who are interested in Canada, but have been put off for the time being as a result of political sentiments. For countries like China, if your government’s not happy with a destination, the people won’t be going there.

In terms of destinations - are we seeing a push into new destinations led from a client standpoint?

Jayne McCaw: I’m lucky to have a very high repeat visit rate from my clientele, and so I’m looking to expand to places where my guests already want to go. Florida for the off-season, Costa Rica - those are the two main areas I’m looking to expand to. As far as other things going on, I think that Americans are going to Europe this summer.

“We collaborate with a lot of media companies for high-end dramas Benjamin Norris: You mentioned that Americans are particularly interested in Europe and reality shows, this summer. Have any of the wishlist locations heard about surprised you? It’s starting to and it’s really down to you’ve feel that the ‘old guard’ of the major European locations have begun to give way to the owners and their tourist certain newcomers on the scene, particularly since the pandemic. personal preferences.” Jayne McCaw: Oh, I totally agree. I think interesting question - both in terms of guest footprint and in terms of the wider tourist industry. I came back from Prague last week, and again for the first time, expecting empty streets and beautiful architecture. It’s rammed.

The tourism industry is having a huge impact.

Wolf, in terms of your demographics, are you seeing a shift in where travellers are coming from?

Wolf Worster: Every so often we do polls.

For existing Siretti members, there’s still considerable representation from the American market. There’s also a significant presence among members from Eastern Europe - we’re seeing more wealth from Poland, Slovakia, Serbia and Croatia. If there’s any growth, I’d say that’s about the extent of it from the luxury side.

Peter James Robinson: From our audience, it’s not clear if patterns are changing wildly - people seem to still be frequenting the same established regions. That could be as much about the age range of the audience as the need for privacy and security in the recent climate.

The interest seems to be in having experiential activities - visiting Burning Man, for example, or sailing with friends, for which they’ll find a base

Croatia and much of the Balkan region is now ‘happening’ - but I can tell you that the audience being pulled there aren’t renting a villa or a cottage for the second or third year in a row. They’re seeking completely different types of stays and different experiences altogether.

However, this sector of my clientele still wants me to vet out these locations, and they still want all the comforts and the same high level of service. For example, they might want to visit Florida in the off season, but they don’t want to feel like they’re staying in an AirBnB - they want to feel like they have a home there.

Wolf Worster: Regarding new destinations, it’s abundantly clear that Italy is the point of discussion for this summer.

Jayne McCaw: I’m also hearing a lot at the moment about Casablanca and Marrakech.

Susan Doull: It’s the cities that have just been flooded this summer in Italy, more so than the rural areas. It’s about culture, exposure to the culture of cities like Rome.

Roberto Pinto: As far as Mexico is concerned, it’s all about Cabo San Lucas, which has always been a strong destination as a result of the infrastructure and the influence from the US. The coastal region of Oaxaca - where tourists

RENEW COTTAGE ON ROBINSON LAKE

BASTIDE DE LA FELICITÉ – ST. REMY DE PROVENCE

THE REVIEW 2023 45

can see the beautiful architecture and other cultural gems - has started to provide amazing villas. Right now, I’m expanding there because my clients are asking specifically for it.

Peter James Robinson: Expansion into new locations is always going to be led by the client. There’s a tipping point when it comes to requests; sooner or later you’re going to have to start granting them. Going back to Italy being oversubscribed; is this the White Lotus effect?

The Netflix show covered the San Domenico palace, which is now booked out for the rest of the year. I wonder how much effect there is from TV, traditional media and social media coaxing tourists down the marketing path to new destinations, or is it just that the Italian tourist boards are being particularly efficient this season?

Susan Doull: The tourist boards can have a really potent effect. France, in general, has better tourist boards than Italy, so I imagine the Italian boom is being mainly led by other media. For a couple of years, Umbria was being hugely promoted, and as a result it was packed.

The powers that be were satisfied, so stopped promoting the region. Ever since, it’s been much harder to sell Umbria, despite it having beautiful properties and everything Tuscany has to offer.

CASA DE PLAYA DE DISEÑO

When I used to have a hotel in France, I worked closely with the tourist bureau. They were hugely impressive and have consistently been the number one tourist destination in the world as a result. They lost out to Spain for a few years when the Spanish tourist board started investing heavily into their promotional material; the investment really does pay off, and we see it year on year. However, we’ve also seen consistently how new media, TV, movies, and even books can make a huge difference to how a destination is perceived.

Benjamin Norris: It’s now impossible to separate the traditional media from the power and reach of Instagram.

Peter James Robinson: Do you find a considerable push in interest and bookings from regional or national tourist boards as a direct result of their campaigns or direct funding efforts? And do you engage with the tourist boards - do they do any outreach?

Roberto Pinto: Yes, but there are other - often totally unexpected - influences at play. During Covid, Tulum was the only destination in Mexico that was open. That led to the prices increasing, as all the rest of the world was closed. We were all running for the business

and working around the clock as a result. Now, Tulum is not as attractive as it was during the previous two years. Is that because the world is open again? Because the marketing and promotion for Mexico is focused elsewhere for now? Or is it because there’s now so much construction as a result of that peak in popularity?

Peter James Robinson: There are also tax standpoints and citizenship to bear in mind from our demographic’s point of view. Much of our readership will look at investing in or travelling to certain countries or regions, not just because of culture, climate or beautiful vistas, but for the financial and socioeconomic advantages inherent in doing so.

Roberto Pinto: The economy certainly plays a part. Right now the Mexican Peso is really strong - for the Americans, it’s more expensive right now to come to Mexico. This drives tourism to other destinations, and I’ve seen my clientele in Mykonos, Spain and elsewhere in Europe. Interestingly, for Mexicans right now, it’s more affordable than ever to travel to Japan, a country which was previously much more expensive to visit. The world, in this respect, is changing a lot.

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E Q U E S T R I A N : NAT U R A L H O R S E M A N S H I P

Natural Horsemanship The world of dressage is uber-competitive. Constant sacrifices are made to get the best possible results. But at what cost? We sat down to speak with Gretha Hausmann-Ferreira, Olympic Grand Prix dressage rider and Gabriele Metz, special interest journalist and manager of the Hund & Pferd Dortmund at Hofgut Sachtenhorst, to hear why they preach and - of course - practice the concept of Natural Horsemanship.

Words: Joëlle Smout & Ruud van Rheenen Photography: Gabriele Metz

GRETHA HAUSMANN- FERREIRA AND ZIDANE

THE REVIEW 2023 51

PUTTING THE RELAXAH BLANKET ON ZIDANE

T

he concept of Natural Horsemanship embraces the ancient principles of riding, integrating a holistic perspective on how horse and rider should work together in synergy to get the best possible results for both. The concept challenges the world of professional and leisure riders with a unique perspective on the training and treatment of horses.

without a saddle - it was all about having fun with the ponies. I even remember being in our bathing suits and swimming with them.

You were only 3.5 years old when you started riding. What do you still remember about that moment?

So, I moved there. After a while, they told my parents to really think about getting me a pony.

I was blessed to have my mum and dad support me in this. They said: “If this is what you really want to do, we will do our very best to support you and get you the pony that you need to compete.” That happened when I was 13 years old. From there, it just exploded.

(Gretha) The story goes that Mum used to take us to the library. I used to always run to whatever equestrian book I could find. After this happened for a few weeks, she decided to take me to a riding school. I still remember the first horse I rode - I was not scared and I wanted to get on the biggest horse immediately. When the trainer took out a pony I said: “No, I want to go on the big horse.” So that happened, and there is even a photo of me sitting on this big horse for the first time. After that, it grew into something I just couldn’t be without anymore.

(Gabriele) I started to ride at the age of six.

Even as a child, horses were always on my mind.

I found a place locally where a herd of wild ponies lived, and when I learned to ride it was

At what point did you start to compete and get more serious about the sport?

(Gretha) When I was about 10 years old my trainer said that I was clearly talented. She advised us to look for a riding school that offered the possibility of competing at a high level.

Despite ascending to an Olympic level of skill, Gretha seems to describe her early years of riding as an evolving hobby. Was there the ambition from a young age to actually compete as an Olympic dressage rider? When did it become clear to you that you could also make a career out of this?

In 2005 I was selected to go to the youth Olympic games in Sydney together with another South African competitor. When we arrived in Sydney, despite dressage in Australia

not being as big as in Europe, we noticed it was much bigger than in South Africa. That opened my eyes and made me realise that this sport is something that really means something. It is not a small thing.

In terms of getting results, it was a hard competition for a novice. There was no support from the South African government.

That resulted in us loaning a horse in Sydney because we couldn’t bring our own - we only had a week to get to know this pony, and then we had to compete. All in all I was not really successful there, but in general it was an experience that I will never forget. It took me getting to the youth Olympic games to decide: this is what I want to do with my life.

There must be a myriad of best practices when it comes to horse and pony care at that level.

What is an important principle for you when it comes to training your horse?

(Gretha) I want to train my horses in a kind way - in a way that they can truly understand what I’m teaching them, instead of forcing them to do these movements. Therefore, it is no surprise that I’ve had many influential people on my team throughout my career that focus on Natural Horsemanship.

What is it that Natural Horsemanship has to offer to the sport?

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(Gretha) If you truly understand horses and how their brains work you approach them differently. There is an unfortunate lack of knowledge in the sport. This means people aren’t properly able to teach horses something without having to force them. The reality is that horses don’t have to do anything we ask them.

They are not going to go into the arena and do ‘Piaffe’ and ‘Passage’ for themselves.

The dream scenario I envision would involve much more teaching regarding how a horse’s neurology works. If we can teach more people to understand what horses try to tell us, our lives and their lives get much easier.

Whilst we’re sure many dream of placing at the Olympics, what does Natural Horsemanship have to offer the leisure rider?

(Gabriele) For me it is a passion for horses that counts. I am a leisure rider too, but at a high level. When you’re riding the horse the wrong way you can damage their health, and as such, it is essential to know the biomechanics of a horse and how you should train your horse.

Gabriele, what put you on the path of Natural Horsemanship?

At the time I was writing a book with Robert Stodulka on approaches to the academic art of riding. They practise a program that learns from the teachings of the old riding masters of the 18th century. They are not interested in winning competitions like Gretha does; they try to present the horse in the most spectacular and healthy way possible. For me, that is the most interesting aspect to focus on.

How would Natural Horsemanship change the sport as it stands today?

(Gretha) Most importantly, I think the essence of what dressage truly represents would become more visible: that the horse and the rider move together in harmony. That is unfortunately an approach that is lacking rather often these days. It gets to a point where you can sometimes see that the horse is being unduly forced and doesn’t want to compete.

Gretha, can you give us an example of a moment where you experienced the essence of dressage, and explain the concept of Natural Horsemanship altogether?

That would definitely be at the world championship last year. In dressage, all Grand Prix movements are marked out of ten, and for any rider to break the coveted 70% mark is a huge milestone. It happened for me with my horse Zidane - I was in this big stadium in Denmark packed with thousands of people.

My test was, well, I won’t say it was flawless, but it was the one where I felt a sense of harmony and communication with my horse like never before. I came out and they gave me a mark of 70%. It brought me to tears.

always had a natural feeling for right and wrong with regard to the treatment of horses and animals. I decided not to give coverage in articles when I knew that things were happening that were just not right, or that didn’t align with a conscientious approach. The It might not have been a mark that would people that I like to promote are like-minded, have secured a medal but for me, it’s about such as Gretha. I want to inspire the field with improving your personal best. It was the most good examples and show how happy we and the incredible day. For me, that was my gold medal. horses truly are.

I think we have to get more in that mindset about the sport. The focus should be on you and your horse as a partnership, and improving your own personal best instead of being the winner. Otherwise, I don’t see how things can change.

What’s stopping the industry from changing?

(Gretha) I understand for some people that I am in a privileged position to have two horses in the first place. Some people have sponsored horses that need to show results for the sponsors, but from that perspective I would say Gabriele, being a journalist you have unfettered it is the owner’s responsibility to not put that access to the equine industry. How do you pressure on the rider, or make them feel like he approach and influence change in the industry? or she needs to ride the horses to an extreme point to get results.

It has always been clear what I stand for. I’ve

GABRIELE METZ AND TRONADOR

THE HERD OF HOFGUT SACHTENHORST

fly protection spray, and with most aerosol sprays he becomes nervous from the noise they make. The spray from ShieldOn comes out like a fog and is silent, so I can get really close to the head of my horse and he loves it.

(Gretha) ShieldOn provided us with the RELAXAH (short for: relax a horse) blanket. It is an 11 kilo blanket. It has such an immediate impact! I think if we could put ourselves in their bodies, it would feel like ants crawling all over them when the adrenaline and testosterone runs through their blood. This is when you put the blanket on. This blanket just brings the whole nervous system down immediately.

Gretha, who inspired you most on your journey?

What positive trends can you point out for us that have to do with Natural Horsemanship?

What do the both of you find important when it comes to horse care products?

The person who’s inspired me the most is my mother. Even though she has not ridden at my level, her determination and pure drive to make things a success in life has really been my biggest inspiration and motivation.

(Gabriele) I think we should go back to a simple and natural approach. This is progressing. Nowadays people are becoming more conscious about how they treat their horses. This is also reflected in the products people are using.

(Gretha) For me, it is about ensuring the horse is comfortable in its own skin.

What is your greatest dream when it comes to your career?

(Gabriele) The products from ShieldOn are all examples of those that are designed with the comfort of the horse in mind. My stallion doesn’t usually like his head to be treated with

My ultimate dream would be to be in the top 50 international riders in the world. If it’s God’s will and I continue working the way I do, I hope it happens.

THE REVIEW 2023 55

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TECHNOLOGY : LEICA M11

Old Dog, New Tricks

The Leica M11 Words & Photography: Roger Chan The name Leica, to some, may fall on deaf ears.

Some may know the legendary German optical specialists through their various mobile phone collaborations with Huawei and Xiaomi. Others may even recognise the iconic red dot when scrolling through Pinterest boards or Instagram feeds in pursuit of a vintage aesthetic. To your average person, Leica may not be a brand which immediately comes to mind when discussing cameras. Leica operates at a higher calibre than the vast majority of camera manufacturers simply because it’s not aimed at the average person.

For me, the name Leica is synonymous with documentary photography. In my previous life as a photography student, I often had to research images, critique and understand the composition of shots, and pull out subtext from manipulated or constructed images - all things which now form part of my subconscious.

Documentary photography is the art in its rawest form; you cannot construct the poignant stills that come from acts of God or the devastation of conflict.

A glaring example of this kind of emotion being instilled in an image is ‘V-J Day’ by Alfred Eisenstadt. Shot on a Leica IIIa, Eisenstadt perfectly captures a sailor and a nurse kissing in New York’s Times Square on August 14th, 1945.

A spontaneous moment in time which stood still as the world around it was celebrating the end of the war. A moment which has since been recreated countless times in movies and even commemorated in the form of a 26-foot-tall statue.

Leica was founded in 1869 in Wetzlar, Germany

by Ernst Leitz. The name Leica derives from a combination of the words, Leitz and Camera.

Leica cameras were known for image and build quality and became so popular that in 1986, Leitz officially rebranded to Leica. The Leica Hall of Fame spans royalty (some literal) and those highly regarded in their respective fields.

Including the late Queen Elizabeth II, Annie Leibovitz, David Bowie, Lenny Kravitz and Lisa from BLACKPINK.

THE REVIEW 2023 59

“It would be an expensive transfer veThe M11 provides the same satisfying heft that you get from wearing a Rolex Submariner or slamming the door of a G Wagon; it’s weighty but a small price to pay for superior build quality.”

THE REVIEW 2023 61

Owning a Leica for me had always been a dream of mine. Rewind to 2012, I was a teenager scrolling through Tumblr (back when that was a thing), seeing photos of Leica M9s staged on wooden tables with artificial plants and Starbucks iced coffees. The rich kids would take black-and-white mirror selfies with them - because what else would you do with a $7,000 camera? Back then, I wanted to be that rich kid. A Beats by Dre-listening, Supreme hoodie and Jordan III-wearing, Leica shooter with a MacBook Pro that had a light-up Apple logo. The 2012 American Dream. Questionable fashion choices aside, I finally became that kid

“At first glance, not much has changed aesthetically since the ’50s.

”

when my Editor bestowed me with his 2015 Leica X Typ 113, which he hadn’t used in years.

I love shooting with the Leica X. It’s a back-tobasics point-and-shoot camera which produces stunning images, even by today’s standards.

But there’s no getting away from the fact that technology has vastly improved from eight years ago. That’s why I reached out to Leica to test out its flagship M model, the M11.

At first glance, not much has changed aesthetically since the ’50s. The M11’s body is a full-metal housing composed of magnesium,

a brass top plate and a black leatherette cover providing reassurance of build quality whilst dismissing any concerns of fragility. The M11 provides the same satisfying heft that you get from wearing a Rolex Submariner or slamming the door of a G Wagon; it’s weighty but a small price to pay for superior build quality. On the back, there’s a 2.95” touchscreen to help you navigate the plethora of menus that can be found within. Inside the M11 you’ll find a 60.3-megapixel mirrorless sensor and Leica’s latest Maestro III processor, ensuring the M11 never skips a beat whilst maintaining optical superiority.

The M11 I was testing was finished in matte black and paired with a Summicron-M 35mm f/2 ASPH lens, a focal length that is forged in Leica’s history, given that the first-ever 35mm compact camera was created and developed

by Leitz. The black variant of the M11 swaps the classic silver brass top plate for a scratchresistant Matte Black aluminium one, resulting in a 20% weight saving which is key for daily shooting.

I have a set list of shots I need to get and often shoot strategically. I can picture a finished image in my head before I’ve shot it - as long as my settings are correct, the focus point is set and the autofocus on my lens works. However, with the M11, that isn’t an option.

The ‘M’ in M11 stands for ‘Messsucher’ (German for ‘range finder’), and is a signature feature across all M models since the original M3 launched in 1954. The range finder, paired Frequent use of the M11 forced me to with only having manual focus at my disposal, completely change my mindset before releasing made me reminisce about my photography the shutter. When I’m usually on assignment, student days. The M11 experience blurs

THE REVIEW 2023 63

the lines between using a film camera and a mirrorless one. It provides that analogue look and feel when taking a picture yet provides the instant gratification of being able to review your images there and then. If you’re like me and often find yourself needing to shoot and edit photos quickly, don’t fear. The M11 is a certified ‘Made for iPhone/iPad’ product meaning you can plug the M11 directly into your iPhone or iPad via USB-C to import, review and edit your images on the go. You can also use Leica’s FOTOS app with the M11’s inbuilt Wi-Fi and Bluetooth functions. However, due to the large file size, the data transfer rate can be wanting to say the least.

The images produced by the M11 are unparalleled, providing colours and tones

which only those who wield the power of the red dot are familiar with. The Summicron-M 35mm f/2 ASPH produced a buttery smooth shallow depth of field; its only hindrance being the 0.7-meter minimum focusing length. Do not be mistaken, this is not a point-and-shoot experience. Shooting with an M11 is akin to choosing to drive a Singer 911; it retains the classic look whilst having all-new modern internals. It’s manual, and as such gives you an experience rarely found in an automated world. You need to truly consider yourself a fully-fledged photography enthusiast - one who is comfortable with manually adjusting all the settings on your camera - to consider this investment. If you’re looking for a classic experience, Leica also offers M models that use film. Of course, if like me you aren’t opposed

to a more automatic experience, Leica’s highly anticipated and recently unveiled Q3 might be more your speed.

Having spent a month with the M11 being my secondary camera across shoots in Europe, there’s something to say about the Leica ownership experience. Owning a Leica isn’t just about taking striking images, it’s being a part of an unspoken club that few belong to. Being seen with a Leica on your person evokes conversations with those who can also appreciate high-quality craftsmanship. I’ve only ever had similar interactions with strangers when driving luxury cars or wearing Swissmanufactured watches.

DINING OUT : GOTHENBURG

A Dining Tour of

Gothenburg,

400 Years in the Making Words: Benjamin Norris - Lifestyle Editor

Here’s a deep cut for you: as I wander around the streets of Gothenburg, Sweden’s second city and West Coast wonderland, the lyrics to The Divine Comedy’s culty B-side of baroque bombast about the nordic nation are running through my head. “Safe and clean, green and modern, bright and breezy, free and easy…”

THE REVIEW 2023 67

I

t could be an unofficial local anthem for the city’s recent and highly impressive regeneration, spurred by the 400th anniversary of Gothenburg’s glorious founding.

The past few years have seen the kind of multi-million euro investment into everything from infrastructure to independent businesses, leisure possibilities and tourist-baiting attractions and excursions other cities could barely dare to dream of.

Bright young things with bright young ideas have been given funding and free rein alike to celebrate not just a landmark year, but to lay the foundation for many years to come.

Frankly, it’s spectacular.

It doesn’t hurt that my trip to west Sweden coincides with some seriously impressive weather. The mercury hovers solidly around the 30-degree mark all week long, and judging from the fact that conversation with locals never strays far from ecstatic comments about the climatic conditions, it’s safe to assume the blazing sunshine is by no means business as usual, even as we approach midsummer.

Accommodation is provided by the gleefully eccentric Grand Curiosa Hotel. Inaugurated a mere two months’ prior to my arrival, it’s that most fittingly curious of things, ticking boxes close to my heart: a family-oriented hotel which isn’t dripping with day-glo plastic or the kind of manic attitude seemingly aimed at children riding a dizzying sugar high. Instead, it’s fashioned as a cabinet of curiosities;

each of the six spacious floors is themed around Edwardian takes on the golden age of discovery. Ornamental masks from the Far East cover one storey. Beautifully-rendered vintage etchings of sea life cover another. Mine features a decadent delight of peacock feathers and tropical birds. In a thoroughly atypical and maximalist twist for a Scandinavian hotel, the hotel’s central columns have been hidden by gargantuan replicas of Ming Dynasty vases.

It’s a visually striking addition to the hotel’s fictitious self-mythologising: that of it being the former home of 19th century globe-trotting smugglers.

The room is comfortable, the service efficient, the breakfast buffet exceeds expectations.

From the very first morning, all is well on the west coast.

I was in Gothenburg to get a clearer idea of what a nordic city’s 400th birthday party could look like, and to continue with something of a personal mission to champion the luxury credentials of northern European city breaks.

I was also, and primarily, there for the food. As is the case with many of the city’s attractions (not least the art museum, Goteborgs Konstmuseum, which boasts a massively alluring collection of Nordic masters, Fauvist treasures and Expressionist gems including Edvard Munch’s seminal Vampyre painting), the restaurant scene in this city of half a million Swedes is punching well above its weight.

The region features six Michelin-starred

eateries, each excelling in that which this part of the world does best: dishes which highlight the incredible produce of its shoreline and forests, with a particular emphasis on foraged and sustainable ingredients. The Michelin guide’s love affair with Scandinavia is still picking up steam, it seems, and there has been a glut of new restaurants around the historic city centre and further afield aiming for inclusion in the 2024 issue of the quintessential gastronomic bible.

As is so often the case, you don’t need to look to the world of fine dining - or even look for the iconic Michelin logo on a restaurant’s door - to find examples of impressive Swedish cookery. The historic market hall (beautifully refurbished to let the 19th century architecture shine) features a wealth of local producers and more than enough places to stop for a light lunch or something more substantial.

Gothenburg harbour is rightfully celebrated for the quality of its seafood - namely langoustines and coldwater prawns - and a handful of the latter, cooked whole at the market until a shocking crimson in colour and oh-so sweet on the palate, is exactly the rustic-yet-opulent pitstop to set you up for a day of exploring.

For those seeking seafood with a view, hop on a ferry out to the archipelago of tiny islands scattered along the Baltic coast. Here, life slows to a gloriously leisurely pace amid the rocky outcrops, sandy beaches and pretty marinas. A phalanx of mid-sized superyachts speaks of the high-end visiting clientele, and the restaurants

on islands like Hönö (which, I was told by my skipper, is surprisingly rich in British naval history having been a safe haven for Nelson’s fleet during the Napoleonic wars) are joyfully elevating the islands’ ancestral fare of fish pulled from the sea, cooked to perfection, and served with coastal and aquatic greens.

A generous fillet of halibut caught but hours before, slicked with a citrus-spiked hollandaise and resting on a bed of sea vegetables? That’ll do nicely. Innovative and eccentric Swedish creativity is never far from the menu, either - the waitress recommended a lemonade flavoured with seaweed and a tonic made from, I kid you not, umami-rich sea squirts.

Both were delicious, and allowed for a sensory coastal immersion that was as satisfying as it was unexpected.

The evening’s indulgence called for a visit to one of Gothenburg’s latest and most lauded fine dining establishments, so back to the mainland I go. Bulot is a new project opened next to the city museum alongside the main canal that bisects the central district; a playful fine dining restaurant that puts the raw materials of the West Coast in sharp focus, while allowing flavours and techniques from around the world (although with a noticeable Gallic influence) to take its dishes to new levels of brilliance and brightness.

The name of the restaurant comes from the French word for whelk - the humble sea snail that clings to the rocky Baltic coastline and which was, until relatively recently, also

a mainstay of British seaside dining. Whelks have always sat on the funkier and somewhat more divisive side of the seafood spectrum, and to celebrate this particular mollusc both as a key menu item and in lights above the door is bold, to say the least. It’s a move that pays off, however. Personally, I love a whelk, and I’d challenge even the most squeamish of diner to not be converted by Bulot’s elegant and beautifully-balanced approach to this ingredient.

the Baltic sea, so there’s a pearly hunk of cod with a mussel sauce and a lot more fish eggs. One thing was made abundantly clear throughout - this is New Nordic Manifesto cooking, albeit decidedly pretty, delicate and grown up enough to not insist on all traces of French gastronomy leaving the kitchen. After all, edible soil, fungal spores on toast and wine so ‘natural’ you can stand a spoon up in it can stay at Noma, across the Baltic in Denmark where it belongs.

“The ten-course tasting menu at Bulot rarely misses a beat. A savoury meringue is topped with a quality quenelle of caviar”

I left Bulot well fed, a little tipsy from the stunningly-curated wine list (a gorgeously oakaged 2008 Alsace Pinot Gris was followed by a crisp-as-crisp Mosel Riesling), and more than a little optimistic about Sweden’s remarkable and increasingly travel-worthy restaurant scene.

The ten-course tasting menu at Bulot rarely misses a beat. A savoury meringue is topped with a quality quenelle of caviar, there’s raw mackerel on a punchy tomato consomme, and a farci of heritage chicken cooked to perfection with morels and wild garlic. It’s June in northern Europe so white asparagus is on the menu, and we’re a few metres from

The optimism continued with the early sunrise the following morning, which brought with it another day of uncovering the best that Gothenburg’s anniversary year had to offer.

Time was well-spent at the superb Universeum science museum, which was poised to unveil its wondrous new offering: a dramatic dome perched atop an entirely new building, in which immersive 3D movies in 8K detailing are shown to stunning, mind-bending effect. It’s argued to be the best of its kind in the world right now, and yet another example of the city’s bold and unchained ambition.

For those seeking flavoursome escapism in the city, you’d do well to wander into the hip

THE REVIEW 2023 69

“Highly

recommended is da Matteo; a kind of Williamsburg-esque post-industrial space which now houses a coffee roaster and a bakery.

”

neighbourhood of Haga, adjacent to the centre.

Once a poorer part of town, it’s now home to a plethora of independent businesses and a fantastic place to stop for fika - that marvellous Swedish tradition of letting time stand still for an hour or so to indulge in a cup of coffee and something sweet. Highly recommended is da Matteo; a kind of Williamsburg-esque postindustrial space which now houses a coffee roaster and a bakery. There are plenty of fika options available, but the baker’s take on the two Swedish mainstays - cinnamon buns and their cardamom counterparts - are an absolute must.

Gothenburg’s

youthful

exuberance

and

entrepreneurial spirit is more than a little evident in this part of town, but cross the harbour to the city’s northern side, and you’ll discover the former shipyard fully embracing the start-up spirit. While there are dozens of fascinating food and drink places to visit in this somewhat rough-and-ready district, I’d highly recommend the tap room at Tva Feta Grisar microbrewery. Here, head brewer Pontus will guide you through his weird, wonderful and utterly delicious array of craft beers (including his favourite, a chilli-spiked IPA with a serious kick of habanero) while talking about the business’ unlikely origins. For those seeking a craft beer trail through Gothenburg - a city renowned throughout Sweden for its tradition

of top-notch brewing - Vega Brewery, just down the road, is another unmissable stop. Live music, barbecue and a stunning range of smallbatch beers? On the sunny day I was there, it was nothing less than divine. I’d imagine it would be a fitting hideaway should the weather turn for the worse, too.

As far as city breaks go, West Sweden isn’t necessarily a part of the world which leaps out to many world travellers as an obvious option.

However, for those seeking fantastic flavours, cultural and historic treasures, exquisite nature and a city which is facing the next 400 years with a justifiably self-assured swagger, it’s a real heart-stealer of a hidden gem.

THE REVIEW 2021 49

“Dear Chris, Johnny, Guy and Will”

Coldplay’s World Tour is a Triumph. We need to find a way that the whole live music ecosystem benefits from it.

Words: Mark Davyd, CEO and Founder, Music Venue Trust

C U LT U R E : M U S I C V E N U E T R U S T

D

ear Coldplay

Congratulations on your incredible record-breaking run in Manchester last week.

240,000 people got to see you at The Etihad Stadium and the show looked incredible.

Thank you so much for taking the time on the first night to remind the crowd about your journey to take this stage, especially for the mention of your earliest shows in Manchester and specifically for calling out the Night & Day, whose future as a vital piece of the music ecosystem in Manchester still remains in doubt.

It’s 25 years since you played your first gig at The Laurel Tree on 14 March 1998.

It’s been amazing to watch you grow from a band loading their own amps in and out of the UK’s Grassroots Music Venues into the stadium-filling global superstars you have become. I was one of the lucky ones who saw you on both your first and second national tours, playing support to Bellatrix and then co-headlining with Terris at Tunbridge Wells Forum. You probably won’t remember me, but I remember you and the positive attitude you brought to those shows. I remember you taking the time to thank everyone at the venue, to personally meet the fans you were building, standing at a merch table at the back of the room trying to raise enough money from t-shirt sales to make the tour make financial sense.

It’s always been tough on the grassroots touring circuit, you of all people know that.

But it’s now at the stage where artists and venues simply can’t make it work. Tours are being slashed down to the bare bones of dates and the number of tours out there is collapsing. The combined effect of the energy crisis, cost of living, inappropriate taxation, VAT, Business Rates, premises costs, noise complaints and gentrification is hitting venues and artists hard. Too hard.

The number of shows on this circuit fell by 16.9% in 2022. It’s going to fall even more dramatically this year. One grassroots music venue is closing every week. 48 have closed in the

last 12 months. Your 1999 tour with Terris played 20 dates. Only nine of the venues remain for artists to play.

All this means that the opportunities you had to start your band, to grow your audience, to build your fanbase, to launch your career - all of it is evaporating for the next potential stadium-filling acts. But it’s not only that artists just like you can’t find a way to start their live careers. It’s also that whole communities of young people aren’t getting the opportunity to fall in love with live music. In your early career you went all over the country, taking music to people’s doorsteps. The experience of seeing you in their local venue will have inspired young people to pick up a guitar and form their own bands. Some of those artists will have gone on to have careers of their own. This whole virtuous circle is breaking down.

You can’t be it if you can’t see it, and whole swathes of the country are now many, many miles away from the nearest venue promoting new and emerging artists. We are failing an entire generation of potential musicians. sound engineers, lighting engineers, stage managers, bookers and promoters.

We have to act in order to turn this around, and you have the opportunity to lead the way.

I’m guessing, like most people, you probably don’t know this: your shows at Etihad Stadium are actually financially supporting grassroots community activity.

Your hosts, Manchester City, both as an individual club and as part of the FA and Premier League, are part of a mechanism where the most successful organisation, events, teams, and players ensure that financial support from their success goes directly into grassroots football. The financial success of your shows at Etihad is directly supporting communities across the country to have access to grounds and training. The 240,000 people who saw you in Manchester last week are part of making sure that everyone in the country has access to football pitches through programmes like The Football Foundation.

THE REVIEW 2023 73

That’s brilliant, isn’t it?

We don’t have anything like this in the music industry. Music Venue Trust believes that we should.

If £1 of every ticket sold to see your triumphant, career defining shows at the Etihad had gone into a fund to support grassroots music venues and artists, just imagine what it could have been used to achieve. Just four shows by you resulting in the £10,000 of tour support money needed to enable 24 new and breaking artists to get out on tour. 16 venues spending £15,000 to install solar energy and reduce their bills to zero. 48 venues improving their access with a £5,000 investment, ensuring that their spaces are open to all. The opportunity to do that on these shows is obviously behind us; they were booked a long time ago. But I wanted to tell you what we could be doing.

Because it’s what we have to do if we want this circuit to survive.

The numbers are startling. Our grassroots music venue circuit is collapsing while the top end of our industry has never been more successful. With your help, Music Venue Trust can make Grassroots Music Venues part of the success story of UK live music. With your help, we could create the best touring circuit for grassroots musicians and grassroots audiences in the world.

For that to happen, we need you to lead the way. Next tour, please let’s talk about this. £1 per arena and stadium ticket to make sure every potential music fan in the country has access to live music in their community they can fall in love with.

Please take the lead. Join us and let’s build a bright and successful future for live music.

With respect and admiration Mark Davyd, CEO and Founder, Music Venue Trust

Skin: Lumene Nordic Hydra 24hr Replenishing Balm Chantecaille Future Skin Foundation, Carob Hyaluronic Pressed Hydra-Powder.

Cheek: Jones Road Lip & Cheek Stick: Bright Coral, Royal Plum. Lip: SANN Nourish + Tint Lip Serum: Wild. Eyes: Eyeko Beach Mascara.

B E AU T Y : T E C H N I C O L O U R S U M M E R

Summer

Creative Direction: Naomi Lake & Egle Vasi

Model: Anesu Noelle Mande

Hair and Makeup Artist: Naomi Lake Photography: Egle Vasi

We want it all this season. From soft blushing looks accompanying flowing summer dresses with glassy skin-care-led finishes, to colour… and lots of it.

Define each moment, from a daytime stroll along the beach to late-night cocktails under the stars as the party begins with a single customisable palette from Tropic.

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Skin: Embryolisse Lait-Crème Concentré. Jones Road What The Foundation: Cinnamon Hyaluronic Pressed Hydra-Powder Cheek: Jones Road Lip & Cheek Stick: Chocolate Mocha Lip: SANN Nourish + Tint Lip Serum: Wild Eyes: Eyeko Beach Mascara. Tropic Eyeshadow: Oatmeal. Ruby Rock. Moonshine. Tropic Silk Gel Eyeliner: Midnight Plum.

Skin: Embryolisse Lait-Crème Concentré. Jones Road What The Foundation: Cinnamon Hyaluronic Pressed Hydra-Powder Cheek: Jones Road Lip & Cheek Stick: Chocolate Mocha Lip: SANN Nourish + Tint Lip Serum: Wild Eyes: Eyeko Beach Mascara. Tropic Eyeshadow: Oatmeal. Ruby Rock. Sapphire. Tropic Silk Gel Eyeliner: Midnight Plum.

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Skin: Embryolisse Lait-Crème Concentré. Jones Road What The Foundation: Cinnamon. Hyaluronic Pressed Hydra-Powder. Cheek: Jones Road Lip & Cheek Stick: Chocolate Mocha. Lip: Jones Road Lip & Cheek Stick: Chocolate Mocha. Eyes: Eyeko Beach Mascara. Tropic Eyeshadow: Oatmeal. Starlight.

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Skin: Embryolisse Lait-Crème Concentré. Jones Road What The Foundation: Cinnamon. Hyaluronic Pressed Hydra-Powder. Cheek: Jones Road Lip & Cheek Stick: Chocolate Mocha. Lip: Jones Road Lip & Cheek Stick: Chocolate Mocha. Eyes: Eyeko Beach Mascara. Tropic Eyeshadow: Oatmeal. Starlight.

Skin: Embryolisse Lait-Crème Concentré. Jones Road What The Foundation: Cinnamon. Hyaluronic Pressed Hydra-Powder. Cheek: Jones Road Lip & Cheek Stick: Chocolate Mocha. Lip: SANN Nourish + Tint. Lip Serum: Wild. Eyes: Eyeko Beach Mascara. Tropic Eyeshadow: Oatmeal. Ruby Rock. Moonshine.

Emerald. Tropic Silk Gel Eyeliner: Midnight Plum

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Liens Collection

YO U R S TO R I ES O F LI EN S

DB12:

The World’s First Super Tourer

Words & Photography: Roger Chan

What makes the perfect Grand Tourer? Over the years, many manufacturers have been seeking an answer to this age-old question.

AU T O M O T I V E : A S T O N M A R T I N D B 1 2

t

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CHAN ON MANOEUVERS

IF ROGER CAN FIT IN THE CABIN, ANYONE CAN

F

or me, the perfect GT car should incorporate three essentials: a fatigueeliminating interior, usable luggage space and dynamic performance which can adapt to whatever roads lay ahead.

Aston Martin, a manufacturer whose legacy consists of some of the greatest GT cars ever made, believes that they have the quintessential example.

Pulling up to The Maybourne Riviera in the hills overlooking Monaco, I was greeted by two DB12s. One finished in sleek Satin Aluminite Silver and the other in the striking Iridescent Emerald, both from the Q colour palette. The DB12 wears both colours well, and the choice to present in two very contemporary hues suggests a direct aim being taken at the younger market.

The Satin Aluminite Silver example was fitted with the Carbon Fibre Lower Package, which sports a carbon splitter and side sills to match the rear diffuser. It’s a subtle change, but one The British automaker is now heavily focusing on that adds a bit more ‘Super’ to this Tourer. elevating itself to become the world’s most desirable ultra-luxury British brand. Q New York; Aston Martin’s bespoke personalisation division, will be a key element in its strategy to uplift Aston Martin. Unique personalisation options paired with limited-run models are components to create scarcity and demand. This fresh Q look and feel will also be filtered to all 160 Aston Martin dealers worldwide. However, it’s not only the dealers who are changing.

Aston Martin as a brand is making a resurgence.

Lawrence Stroll’s hands-on approach, with the boots on the ground in Gaydon (paired with the team’s success in F1) has ushered a new wave of energy into the brand. The automotive team is working with the F1 team to present a united front. On the track, the Official F1 Safety Car is the Vantage F1 Edition alongside the DBX 707 as the Medical Car. This alone has garnered a massive buzz around Aston Martin, a buzz which reportedly generated 72% of new Aston Martin owners from the Vantage F1 Edition alone. From the track to the road, A new era of Aston Martin has dawned.

“The DB12 sounds distinctly different; there’s a more refined raspy bellow instead of a very recognisable V8 that can be heard throughout Affalterbach.”

Upon looking at this fresh-faced Super-GT, my initial thought was how the design vaguely resembled the One-77 - the outrageous HyperGT unveiled in 2008 of which Aston Martin only made 77. The most noticeable component of the all-new front fascia is the signature Aston As I gaze over a sun-draped Monaco; the jewel of Martin grille, which is now 58% bigger than the the F1 calendar, I truly believe there’s no better DB11’s, to account for the larger cooling setup. place to drive ‘The World’s First Super Tourer’, The all-new headlights incorporate advanced The Aston Martin DB12.

LED technology, echoing elements seen in Valkyrie. They even have a special triangular

pattern to stop the refraction of your lights from blinding others. You have three options of 21” forged wheels, all of which are wrapped in an Aston Martin-specific Michelin Pilot Sport S5 tyre. The rear of the DB12 is nearly identical to that of the DB11, the only revision being to the rear haunches of the car which adds an accent line above the rear lights.

The DB11 forged the path for the cars that ensued. It was the first to introduce the twin-turbo 6.0L V12 later used in the DBS Superleggera. It was also the first to introduce a whole new design language which can still be seen in the current roster. The DB12’s exterior carries the same allure that the DBS Superleggera introduced but the DB11 lacked.

The grille is larger, lower and more prominent; doing away with the pouty lower lip that the DB11 appeared to have. Stronger bonnet lines and a pronounced nose present a powerful, more aggressive face whilst integrating into elegant lines that flow down the side of the car.

I’m pleased that Aston Martin’s new approach, starting with the DB12, is to blur the lines between performance and ultra-luxury.

There is a plethora of technologies featured on the DB12 which substantiates the title of ‘Super Tourer’. The DB12 will only be offered with a reworked version of the Mercedes-AMG derived 4.0L biturbo V8, an engine we know and love from the likes of the DB11, Vantage and DBX. Unlike the other Aston Martin models which share the same German heart, the DB12 sounds distinctly different; there’s a more refined raspy bellow instead of a very recognisable V8 that can be heard throughout Affalterbach. The V8, which is ‘front-mid-engined’, houses bigger turbos as well as more cooling, producing 680PS and 800mn of torque. This means the DB12 will see 0-62mph in 3.5 seconds and holds a top speed of 202mph. Excessive for a Grand Tourer? Perhaps. But we live in a world where

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the DBX 707 exists: an Aston Martin SUV which has more power and will see 62mph quicker than the DB12. They don’t call the DB12 the ‘Super Tourer’ for nothing.

legacy Aston Martin interiors had a stale whiff of previous-generation Mercedes-AMG to them.

You knew this, I knew this. Most importantly Aston Martin knew this. DB12 introduces an all-new proprietary Aston Martin-designed cabin Other engineering changes include an all-new that I have no doubt will trickle down to new 9-way adjustable Electronic Stability Program models in the future.

(ESP) and traction control system featuring a segment-leading Inertia Measurement Unit. The centre console houses an all-new Carbon Ceramic brakes are now also available infotainment system which is displayed on a on the DB12 to provide greater stopping 10.25” pure black high-resolution touchscreen power, a performance-focused option which with a customisable user interface. This same was previously unavailable on the DB11. The high-resolution screen can be seen on the gearbox is a revised 8-speed automatic ZF with a dashboard without the touch functionality shorter final drive ratio paired with the electric of course. Other leisure-oriented flourishes rear differential from the Vantage. All of these include wireless Apple CarPlay and Android changes ensure that the response and feedback Auto as well a slew of physical buttons, a wellfrom the DB12 to the driver are seamless. The welcomed sight in today’s minimalist-obsessed DB12 also has a 7% torsional stiffness increase design world. Some of those physical controls over the DB11 as well as intelligent dampers include the rotary drive mode selector, ESP and double wishbone suspension. This results in control, suspension control and active exhaust improved dynamic behaviour no matter if you’re control. The DB12’s cabin is also home to the driving through the rural French countryside or upgraded Bowers & Wilkins audio system, the twisting roads in the hills above Monte Carlo. a 15-speaker, 1170-watt sound system which features bespoke speaker grilles to match the The biggest change that the DB12 brings is interior adornments, or in layman’s terms, the undoubtedly found within the interior. There is finish of the interior trim. no getting away from the fact that some of the

The first thing you notice when you settle into the cabin is how it cossets the driver and the passenger. Even as a man of a certain stature, I felt that the cabin was clearly laid out with all controls being within arms’ reach. The multifunction steering wheel greets you and houses a noticeably smaller centre, thanks to the advancements in airbag technologies. The metal gearshift paddles are now attached to the wheel itself (as opposed to the column in the DB11) and feel adequately sized.

Lashings of carbon trim are present throughout, juxtaposed with supple leather across the dashboard and cockpit. The seats specified on the test units were the 16-way adjustable Sports Plus models, which gave a surprising amount of support during cornering. The seating position was low enough for all 6ft 4” of me. However, like in any 2+2, you won’t get any passengers behind me without needing to detach limbs - something that’s certainly frowned upon in such elite motoring circles. The seats are both heated and ventilated but on a 30°C day, I felt the cooling could have been more intense. After a full day of both driving and being a passenger, I concluded that the seats, although supportive, may be a touch too hard for journeys longer than three

hours. I’ll caveat this with the fact that I did have experience. Thank Christ that the wireless Apple to swap when driving so had to constantly adjust CarPlay worked seamlessly, meaning that despite my positioning. the sleek and modern design of Aston’s new UI, the majority of the time I’ll be exclusively using The centre console is where you’ll find an array the interface designed in Cupertino and not of physical buttons and four scrolling wheels Gaydon. For this drive, we were told to use the that correlate with the climate controls and onboard Sat Nav which is functional, but again volume. The cockpit has been meticulously my previous point stands. The same 10.25” display designed to ensure that everything was easy and is used to show the digital speedometer and is convenient to operate; I didn’t have to spend an customisable. Like many other interpretations alarming amount of time distracted by several of the digital dashboard, you can display the menus to try and get to basic functions. Only sat-nav, trip and car information in full view of once did I have to drag my smudgy fingers over a the driver. The absence of a heads-up display is touchscreen to change climate control settings. surprising, but as someone who frequently wears polarised sunglasses, this feature has become The user interface (UI) on DB12’s infotainment more of an annoyance than a necessity for me. system was very well presented and intuitive.

This is Aston Martin’s first model featuring a As a committed audiophile, I consider a car’s touchscreen (bar the Valkyrie hypercar); a bold premium sound system to be one of the most change for traditional interior architecture important investments you can make. The and also for loyal Aston Martin owners. This is Spotify playlists provided to us didn’t include a much-needed change to bring Aston Martin many songs I was familiar with other than the into the now and level the GT playing field, late ‘90s classic ‘My Favourite Game’ by the dare I say the infotainment system looks Bentley- Cardigans, which instantly transported me back esque which is not a negative by any means. to my Gran Turismo 2 playing days. In much As a twenty-something-year-old, commodities the same way that I gauge how good an Italian such as Apple CarPlay and Android Auto have restaurant is by their tiramisu, I have a set list of become an essential part of any modern driving songs which I need to hear to understand the

quality of a premium sound system. Regardless if it’s Beyonce, Bach or Burna Boy, I want to be able to pick out nuances in songs I have never noticed before, despite listening to the same song a hundred times over. I’m not sure if that tells you more about my age or music taste, but the 15-speaker Bowers & Wilkins audio system provided excellent sound clarity and punchy bass. Without a doubt, it’s a great sound system and up there with the premium offerings you can find on the DB12’s rivals.

Driving the DB12 across the hills above Monaco and along Route Napoleon provided some Metcalfe-style EVO nostalgia and gave me a glimpse of the car’s real-world potential. Despite being a more dynamic take on the traditional GT, the DB12 doesn’t sacrifice usability on the road. That pretty new face also comes with a long nose and I was pleasantly surprised when passing over large speed bumps that I didn’t hear the noise of scraping carbon. Driving in GT/Comfort mode, the car gently pottered along the French highway above Nice with a suggestion of V8 in the background. The tight narrow roads were handled with aplomb, the clear visibility allowed me to place the car on the road comfortably and if I had any doubts, the

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DB12 is fitted with 360° and 3D surround view passenger to start gripping the grab handle. Of cameras as standard. course, there’s a fully customisable individual mode for those who want a personalised driving Leading us out of town and towards the experience. mountains, the famous Route Napoleon provided the opportunity to open the taps As someone whose first introduction to Aston and turn the dial to Sport+. This changes Martin was a 2002-Luton-registered Vanquish, the drive completely, the throttle response is which featured Q options such as machine more instantaneous, the exhaust cracks upon guns and missiles, driving across the Côte downshifts, the dampers stiffen and the steering D’Azur driving an Aston Martin felt somewhat sharpens. Cornering in Sport+ gave me the of a childhood dream fulfilled. One assumes a impression that this was more Super than GT. Bond persona when they get behind the wheel Paired with the specially developed Michelin of an Aston Martin and despite fighting it, you Pilot Sport S5 tyres, I never had any doubts about cannot shake that iconic guitar riff from your traction even in the wet. Speaking of which, subconscious. the DB12 is the first Aston Martin to feature a wet mode. Sport mode provides a good middle Given the heritage, the design of the DB12 and ground between GT and Sport+, the right the considerations to pedigree, I should say the level of raunchiness without the need for your driver would be a person of taste and refinement.

One thing’s for sure: onlookers cast admiring and reverent glances at an Aston Martin driver, something which can’t always be said for the Italian and German rivals of the DB12. After spending the day with the ‘World’s First Super Tourer’ I can conclusively say that The future for Aston Martin is assured and the DB12 is leading that charge. The team at Gaydon have taken all the feedback they had from their previous model and implemented their deep-diving R&D into one car. Aston Martin continues to ensure the perfect harmony of both the ultra-luxurious and performative, and the DB12 is a testament to that. The technology and performance will certainly give competitors in their segment a run for their money, and I have no doubt we will be seeing plenty on the road later this year when the first customer deliveries commence.

T R AV E L : B U DA P E S T

Uncovering the

Exquisite Eccentric and

in Budapest’s Luxury Scene Words: Benjamin Norris - Lifestyle Editor

Full disclosure - I’m no stranger to Budapest. I spent much of my latter teens wandering its higgedly-piggedly array of ruin bars and dives, before hustling my way into a position as a university lecturer - a chapter of my life I still can’t fully comprehend, considering my mere 2:1 bachelor’s degree in 19th century literature - and living in a tiny studio flat skirting the vast city park for the best part of three years. It’s a city close to my heart, and one in which many formative experiences were had, enjoyed, and learned from.

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I’ve always been aware that Budapest has another side to its fascinating and historic coin it isn’t all gritty urbane living, artsy dilapidation and a beguiling penchant for synthpop. You can’t wander its streets without consistently coming across imperial coffee houses, vaulted ceilings, marble columns and stained glass.

This trip, if nothing else, was an opportunity to revisit the city through decidedly more grown-up eyes, to explore Budapest’s luxurious heart, and the repositioning of the capital as a destination for those in search of the finer things.

So, at the increasingly stately age of 37, I’m jetting into Ferenc Liszt airport as a guest of the Parisi Udvar; the most glittering example of Budapest’s fast-burgeoning luxury hospitality

scene. It’s a spectacular hotel and one I’ve had a covetous eye on for several years; a celebration of the elegance and archly opulent Austria-Hungarian imperial past the country, quite rightly, clings to. Housed within a historic department store a short stumble from the banks of the Danube, Parisi Udvar welcomes its guests with a cavernous central hall dimly lit as if to evoke candlelight, flickering in breathlessly romantic fashion against acre upon acre of bronze and gilt and glass.

Service is briskly efficient, the room - a junior suite soaked in dark hardwoods and yet more gilded features - is suitably treading the fine line between period drama setting and business luxury. I’m invited to relax with a slender bottle of palinka, the famed local firewater distilled

from summer quince. It’s a far cry from the thrillingly scruffy wanderings of my younger years, and one I’m more than delighted to indulge in.

Parisi Udvar is part of a newly-invigorated Hyatt Collection, and a hotel which doesn’t shy from championing a vision of Budapest based partly in fantasy and historical revisionism. Wrought from a giddy clash of Art Nouveau, Neo-Gothic and Moorish stylings - all key aspects of the Hungarian imperial architectural playbook, but which rarely sit side-by-side in such a melange of brick, marble and gold - it’s perhaps the city’s most spectacular push-back against a tourist industry which has, for much of the past two decades, been typified by a decidedly more beery and hedonistic crowd. Within

its genteel brasserie-esque bar, the hotel’s ambience and staff lull you into an age of vintage sophistication. A time when Hungarian men wore gravity-defying moustaches, the ladies made regular use of fainting couches and the Danube may well have glimmered with a more bluish hue. If a luxury hotel’s primary aim is to provide escapism, Parisi Udvar pulls back the heavy velvets, allowing its guests to cocoon themselves in a cinematic and seductively underlit embrace.

An in-house patisserie almost justifies the ‘Parisi’ aspect of the name, although (perhaps thankfully) there’s a concerted effort to showcase neighbouring Vienna’s contributions to the world of pastry, cream and spun sugar more so than those of the French capital. The

Zafir spa offers the full range of rub-downs and treatments - although I’d personally recommend crossing the mighty river and heading straight for the Rudas mediaeval Turkish bathhouse, where the hours melt away with any stresses and strains in the city’s remarkable thermal waters. The hotel rooftop provides one of Europe’s most underrated urban vistas; a beautifully chaotic mess of spires and curlicues, buttresses and 19th century townhouses snaking along both sides of the water.

vastly-underrated sparkling wine scene), it’s time for a leisurely meander towards my lunch appointment.

It’s a blazingly hot morning in the city, and my muscle memory is leading me down familiar streets to see whether my favourite bars and clubs have survived the turbulence of the past few years. Szimpla Kert - the city’s original ‘ruin pub’ squatted in a townhouse packed to the gills with curiosa - has done so with aplomb.

Other old haunts, the rooftop club Corvin Teto and the sprawling Durer Kert, have given up their respective ghosts. Life goes on.

Following one of the best hotel breakfasts I’ve had in recent years (Parisi Udvar puts massive emphasis on the quality of its ingredients, Lunch has been set at the faintly ridiculouslydishing up local specialities like mangalica pork named Anantara New York Palace Cafe, located and freshwater cured fish alongside Hungary’s in Pest’s natural juncture of Blaha Luisa Ter.

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A brief flashback, if you will. I used to live on one of the streets radiating from this central crossroads, and walked past the New York Palace on a daily basis. Looking in through the windows, the cafe looked as opulent as opulent could be - well-heeled guests sat amid a dining room dripping with gold and marble, and the neo-gothic facade rose spectrally above the streets below. One day, I’d promise myself. One day.

The day had arrived. An architectural ode to the Belle Epoque, the New York Cafe harks to a golden era of impeccable service. It’s a place to discover food that matches delicacy and elegance with a thoroughly Hungarian urge to feed well, and the kind of ambience and atmospherics that nearly veer into Disney princess territory while remaining utterly charming and peerlessly sophisticated. It’s split into two main dining spaces: the New York Cafe serves up slightly more tourist-centric fare, albeit delivered with no shortage of meticulous excellence. The White Salon, a relatively new addition to the palace hotel, steps things up with fascinating twists on Hungarian staples, and is headed by Hungarian gastro superstar Andras Wolf and prodigy Daniel Biro, who cut his teeth at the 2-Michelin star Kontantin Filippou in Vienna. My waiter - Tamas, an attentive young man with an encyclopaedic knowledge of Hungarian booze - brings me dishes of cured trout on gloriously dark and

nutty bread, sea bass, duck livers with quince.

For this lunch hour, at least, all was well with the world.

The accompanying wine flight once again dives into a local scene which, despite having its heyday throughout the 17th and 18th centuries

“Tamas, an attentive

for nothing this place has been proclaimed ‘the most beautiful restaurant in the world’, and for those seeking a glimpse of what Budapest’s luxury scene does so well, it’s very much a must-visit stop on any trip to the city.

After another tranquil night at Parisi Udvar following hours of nostalgic pavement pounding and - admittedly - more than a few of Szimpla Kert’s fabulous in-house black pilsners, it was time to move on to the last stop on this run-through of Budapest’s newer hospitality options.

young man with an encyclopaedic knowledge of The Mystery Hotel is the latest of Budapest’s offerings, situated a stone’s throw from Hungarian booze - brings 5-star both Nyugati train station and the baroque roll architectural nonsense of the museum me dishes of cured trout on ‘n’ quarter. Housed in the former Masonic headquarters, the hotel really leans into gloriously dark and Hungary’s gleeful reputation for eccentricity - there’s an honest-to-goodness flying carpet nutty bread fluttering above the reception desk - and its

”

and being favoured by the various crowned heads of Europe, remains very much in the ‘hidden gem’ section of our beloved wine stores. Let it remain so; I’m not in the business of promoting the obvious. A pair of palinkas are offered as a digestif - apple and plum, this time - and it would be rude not to, not least because the in-house chamber orchestra is in full swing, and it’s impossible not to be swept away by the sheer grandeur and theatrics of it all. It’s not

largest suite features a banquet table, a clawfoot bathtub and wall-covering reinterpretations of Da Vinci’s greatest hits. The rooftop bar served up more tasty fish dishes and some seriously good cocktails, and there’s an ‘occult library’ on the 3rd floor.

For a certain breed of luxury-hunter (i.e myself), it ticked a whole bunch of boxes. Ah, Budapest. Never change.

Discover the Path Less Taken DISTINCTIVE ARCHITECTURE, RESIDENCES & HOMESITES GOLF CLUB • TENNIS • BEACH CLUB • EQUESTRIAN WINDSORFLORIDA.COM • 772 388 8400 OR 800 233 7656

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The Elective

The Clinic Holland Park

In this inaugural edition of The Elective, we sit down with Aesthetician, Ophthalmologist and Oculoplastic Surgeon Dr Jennifer Doyle and Consultant Ophthalmologist and Oculoplastic Surgeon Mr Richard Scawn for a deep dive on The Clinic Holland Park.

Words: Florean Smout

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A

stone’s throw from the private courts of Norland Square Garden you’ll find The Clinic on Holland Park Avenue, offering surgical procedures, non-invasive treatments and holistic therapies ranging from ophthalmology and oculoplastic surgery to medical-grade aesthetic treatments, private GPs and dermatology. We sat down with Dr Doyle to understand how The Clinic’s multidisciplinary team is pushing to create a super-clinic with a difference.

Can you tell us about some of your signature treatments?

On the surgical side, our signature treatment would have to be blepharoplasty with Mr Richard Scawn, who is one of the top oculoplastic surgeons in London. Blepharoplasty is an eyelid lift - either the upper or lower eyelids, or both, depending on the client’s goals - and it is one of the safest and most effective surgeries to open up the eyes and rejuvenate your look. We have seen a marked increase in demand for this procedure, ever since the Covid lockdown got us all acquainted with our on-screen appearances in video conferencing and the like.

On the aesthetics side, our signature treatment is our most popular treatment: the BBL, (Broadband Light phototherapy) and Moxi combination, usually for the face, neck, decolletage, forearms and hands. We were the first clinic in London with the device to offer Moxi and BBL, and we have the most experience in the region. Skin is ‘in’ as a trend at the moment – especially skin quality. The beauty of Moxi/BBL combination procedures is that it treats such a wide range of concerns, be they pigmentation, broken capillaries and vascular issues or rosacea, as well as fine lines, texture and wrinkles.

Dr Doyle. Your background is both as an aesthetician and surgeon. How do these professions complement each other?

Where do you draw the line for patients who are looking for a change and are not quite sure what procedures they want?

Similarly, where do you draw the line for patients looking to imitate a social media ‘filter’ look?

As an ophthalmic and oculoplastic surgeon, I frequently see people wishing to make a change to their appearance. However, not everyone is a candidate for surgery and equally, not everyone

needs surgery to achieve the result that they desire. So one of the reasons I started to offer non-surgical aesthetics was to be able to offer the full spectrum of treatments. Here at The Clinic, the surgical side is heavily led by Mr Scawn, who is an extremely experienced oculoplastic surgeon, who trained me as well as the other two oculoplastic surgeons on the team (Amelia Davidson and Aoife Naughton).

For those who are looking for a change and aren’t quite sure of what they want, we first of all do a Visia skin analysis (a high-tech diagnostic machine for the skin), which is a brilliant tool for reproducible and objective imaging. This allows us to discuss the image results with the patient and decide on a treatment plan together.

In terms of where we draw the line in managing clients’ expectations: what we do here is achieve natural results, and don’t tend to go for the social media ‘filter’ look (the TOWIE look, in other words). At The Clinic we have a psychologist with whom we work closely, being mindful of the modern-day pressures of that social media look. We have to be very careful and conscious that patients might be under undue pressure to achieve unnatural looks that would not be in their best interests. Our psychologist helps us deal with those patients.

Following from this, can you discuss how social media has changed the expectations of beauty, aesthetic and surgical treatments? Are there changing trends in terms of treatments sought, alongside increased expectations for instant gratification?

Social media is obviously flooded by celebrities having these treatments, with ‘befores’ and ‘afters’ that aren’t always realistic. You will get patients coming in and asking for a particular procedure that they’ve read about a celebrity undergoing. I think managing expectations and ensuring that we’re always under-promising and over-delivering is key in making sure that our patients are happy with their outcome.

As for changing trends, I think more and more people are turning their attention to skin.

They’re realising that we can’t just rely on the Botox/anti-wrinkle injections and fillers to achieve the desired result, because if the skin overlying that tissue is not good then they’re not going to get the best aesthetic results. So I think more and more people are now interested in skin treatments that rejuvenate.

Increased expectations of instant gratification?

Yes, I think there are. We just have to be cautious as professionals to make sure the patient is aware of any downtime that is associated with any procedure and that their expectations are

realistic. Only filler provides an instant change, and patients need to be aware that when they have filler, the amplified effect of the filler in the first 24 hours will decrease by 25%.

The combination of beauty, aesthetic and surgical in one clinic is unusual. How does The Clinic bridge the gap between these disciplines? Do you feel they are separate, or interlinked, or potentially a course of progression? Do you feel this is where the industry as a whole is headed in terms of multi-discipline destinations?

What we’re trying to do here is to provide something for everyone in terms of accessibility.

From just getting your eyelashes treated right down to cataract surgery, there’s something for everyone. The key here is that we’ve got a team of professionals who work closely together and cross refer. We’ve hand-selected the best people in their field, so that if a patient comes in with multiple concerns or needs multiple procedures in order to get the best outcome – whether it be surgical, non-surgical or beauty procedures – we know that we can care for them in-house and work closely in the team to achieve the best results.

radiation, especially as we’re coming into spring and summer. Make sure you’ve got appropriate sunglasses with built-in UV protection. Visit your optometrist on a regular basis because they can pick up the early signs of ocular disease.

In terms of diet, there are lots of things we can do. If you have age-related macular degeneration, for example, there are specially formulated eye vitamin supplements you can take. Equally, from the oculoplastics side of things, we see a lot of people who have rosacea and blepharitis affecting the eyes and causing dry eyes – a diet that includes fish oils and flax seed oils may help. Also, Richard Scawn manages a lot of eye and eyelid trauma due to sport, DIY and fires, and he recommends eye protection for DIY work, when playing sports such as squash, and taking care around fires - especially in the BBQ season.

Can you discuss if the needs of eye examination have changed, as our lives

“On the aesthetics

revolve more around screens? How often should we book our eye examinations?

Generally, you should have an eye examination at least once every two years. As you say, we are facing more and more screentime, particularly following Covid – we’re on Zoom a lot more and in virtual meetings, and this can lead to an aggravation of dry eye. Dry eye is a very common condition, it’s something we’re seeing more and more, and it’s something that we can readily assist with here by recommending eyedrops and other supplements Sun damage is recognised as one of the leading causes of ageing. Are there any sunscreens that you would recommend?

What brands are carried by The Clinic?

It is important to have a high factor, broad spectrum sunscreen. Here at The Clinic Holland Park, we work with two medical-grade brands – Alumier MD and Obagi – and we often use these post-procedure. We use the Alumier creams because they provide a physical block only and don’t have any chemical UV block in them, so they are safe post-procedure and also really good for the environment. For example, you can’t go scubadiving on the Great Barrier Reef if you’re wearing a chemical block, but you can with a physical block.

side, our signature treatment is our most You are already established in numerous practices across the UK. Why was Clinic at Holland Park created as popular treatment: the The another outpost? What might make this a BBL, (Broadband Light destination over all others? are bringing in a team of expert consultants phototherapy) and Moxi We all under one roof, working together and not in competition. Moreover, The Clinic Holland Park with its luxe ambience, discreet consultation combination, usually –rooms, purpose-built surgical theatres and discreet recovery pods – delivers a streamlined, first-class for the face, neck, service that is not available elsewhere.

We stand out from the crowd. We happen to be a superclinic – a new wave of high-end clinics decolletage, forearms Can you tell us about The Clinic Club that offer multi-discipline services - but I do not Membership. think the whole industry is headed this way. Our USPs are 1) that all our aesthetics practitioners and hands.

For treatments that require maintenance or are qualified surgeons, so all our procedures are So yes, I think they are all interlinked (beauty, aesthetics and surgery) and also, potentially, a course of progression. You might come naïvely to non-surgical or surgical treatments and start with a facial, for example – we do medical-grade facials here with Emma Brown – and that might lead to a discussion on skin health that would lead you to try laser rejuvenation (for example).

Equally, if it was noted that you had excess skin on your eyelids, you may therefore want to have a discussion with one of the oculoplastic surgeons about surgery. So there is potential for progression and the patients seem to like having everything under one roof.

consultant-led and consultant-delivered, and 2) that we can cover both aesthetic and surgical procedures in one destination: we have two stateof-the-art operating theatres on-site where we can carry out any procedure that requires local anaesthetic. This is not the case in any other UK clinic.

As an ophthalmologist, what are some day-to-day care procedures we can practise for healthier vision (dietary, lifestyle, etc.)?

Lifestyle wise: protect your eyes from UV

”

repeats (Botox and laser treatments), there is a membership option where you can sign up and save.

Can you tell us about some of the oculofacial treatments you offer at the Clinic at Holland Park?

We have a wide spectrum of procedures from having your eyelashes done to having Ameela – which is a new and exciting bio-revitalising treatment for the under eye and upper-eye area that treats dark circles and puffiness - to surgery, whether that be an upper or lower blepharoplasty.

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Of the treatments performed, what is the ratio between direct treatment of medical issues, versus adjustments more centred around aesthetics?

I’d say about 50:50.

Can you tell us what patients should expect post-procedure (in terms of recovery time, location and post-surgery follow-ups)?

This very much depends on the procedure they’ve had and the individual patient. Your consultant will discuss any pre-procedural measures, downtime and aftercare at your initial consultation, so that you are fully aware of what to expect.

How might each clinician care for the mental health of each client, with regard to expectations and changes posttreatment?

Our consultants also work in the NHS, so we all come from a very evidence-based background in terms of ethics and how we work. This is a very important ethic at The Clinic: we do not offer any unnecessary treatments and if we are concerned about any patient’s mental health – especially body dysmorphia – we have an established pathway of referral through to a psychologist.

What are your views on the changes to legalities surrounding aesthetics? With the introduction of age limits and licensing, and regulation of advertising, do you feel this goes far enough to protect the consumer?

There is a long way to go in terms of increasing legalities surrounding aesthetics. As we know, a lot of these treatments are still being delivered by non-medics; at The Clinic we often get patients who have experienced complications elsewhere who come here to seek a second opinion. Going forward, there is more talk about regulation in terms of where these treatments are done and who can do them, and this is an ongoing discussion at government level at the moment.

Obviously, we would like to see the aesthetics industry fully within the medical profession and not with non-medical professionals carrying out these treatments. At the moment, it’s not illegal for anyone to buy the filler and inject it into anybody. I would like to see supply only to medical professionals who are fully trained, not only in the procedure but also when it comes to complications post-procedure.

THE BBL The first question people ask me when discussing elective surgery in conversation is “why?” Sure, I have the skin of a 20-something - at the moment - but it’s down to a combination of vanity and shame. I’m a blushing blonde and whilst that’s cute during childhood, I have tried to tone down those red cheeks with makeup ever since my teenage years.

I’d had enough of looking flustered and not composed. Not to mention, who doesn’t enjoy a makeup free day? There is no place for full war paint in the gym, when poolside or in sunny climates. At least, not for me.

When I first dropped into The Clinic Holland Park, I was taken by the vibrant and leafy surroundings that are a far cry from the more austere environs of Harley Street. There is still that feeling of exclusivity, of course. The bright interior with herringbone flooring and pink accents was less sterile, aesthetically, than I had expected, which was another welcome change.

The waiting areas are cosy art-filled nooks to ensure privacy, with incredibly attentive staff on hand to attend to any needs.

There was little time for an oxidising tea, however - as you might expect, The Clinic is run with Swiss-timed precision.

On arrival, the reception team immediately recognised me and led me straight to the intake with Dr Jenny. A lot can be said for bedside manner when it comes to elective surgery and Dr Jenny could well be the most calming and reassuring doctor I have had the pleasure to be treated by. After all, you are entrusting someone with your appearance in a permanent way; something that warrants consideration when it comes to with whom you place that trust.

The first part of the process was a Visia skin examination, which analyses different areas of the face like wrinkles and ageing spots. As a new entrant to the 30 Club, to be in the top 2% of my age group wrinkle-wise was an instant ego boost.

Having filled my intake form online a few days prior, we discussed the treatment and any reservations or concerns I

had. Apprehension is natural in these circumstances, but I need not have worried.

The treatment itself involves an initial patch test in the clinic’s surgery to ensure no adverse reactions to the gel or laser itself. I lay down with my eye protectors firmly in place and let Dr Jenny set to work. What did it feel like? Imagine a small elastic band snapping on your skin repeatedly. It certainly got my adrenaline pumping. As the treatment continued it began to get a little hotter, with Dr Jenny ensuring I was comfortable and applying an array of cooling tools. I have to say, she coached me through the process with positive affirmation of the highest order.

My second round of treatment a month later was a more relaxed experience, with my fight or flight instinct firmly stowed. I noticed the same light swelling in the face posttreatment but, to be honest, it was only noticeable to a partner or family and came down in two or three days. Prior to the treatment, you’ll need to stay out of the sun for at least two weeks to ensure you don’t have a tan. Post, you’ll also need to stay out of the sun for two weeks and please ensure you all wear sunscreen. We’ve said it enough, haven’t we? I was headed for Croatia, Montenegro and Australia… so perhaps consider arranging your treatment in the Autumn. Applying ice can help reduce any swelling that may occur.

The BBL is described as a lunchtime procedure, and time-wise that’s certainly true. Vanity-wise, I would probably still opt to hide inside. If the skin isn’t broken, you can apply make-up straight away but you’ll want to give your skin time to breathe. Instead, I went to dinner in town with a friend immediately after. I probably should instead have made my way to a bag of frozen peas and a horizontal life pause, but the swelling, sensitivity and redness reduced after two days.

You might well need several sessions for optimal results, but after two sessions I can see that my face is noticeably less reddened and the vessels are less apparent, especially the larger ones.

© 2023 Gabriele Metz

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T R AV E L : M A N DA R I N O R I E N TA L

andarin Oriental Prague Words: Peter J Robinson

Vast baroque palaces, gothic cathedrals, romanesque chapels, worldly art nouveau buildings and unique cubist architecture make Prague a place with no architectural parallel. Nestled in the heart of the Czech capital’s historic Mala Strana district in a meticulously restored 14thcentury monastery, the Mandarin Oriental, Prague, is a sanctuary on the west bank of the Vltava River.

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AARON EDGEWORTH UNLOADING THE FERRARI F8 SPIDER DOCKSIDE AT FINGAL

A

s one of the most visited cities in Europe, Prague’s popularity is a testament to both its beauty and history. Whilst I applaud the increase in footfall for the wider tourism industry, I was hoping to avoid the usual throngs of tourists that frequent the city’s old town each year. As always, researching the right location for your jaunt is key.

Mala Strana sits at the foot of Prague’s Castle Hill; a cloister of palaces and private homes that are worth visiting in their own right. You’ll find the Kafka museum, John Lennon wall and Vrtba gardens all within the parameters of a very short stroll. The district was established in the 9th century, and so the Mandarin Oriental is flanked by

Our junior suite was set across a mezzanine, with the living room on the lower and bedroom and bathroom on the upper. It was characterful in the extreme, and interesting to see how the architects had been able to keep the exposed beams and period fixtures of the property alongside the Egyptian cotton sheets and Moser Crystal chandeliers. Did I mention the small batch Diptyque toiletries? A strong choice. Welcome artisan chocolates and, of course, chilled beers were much appreciated, as the mercury had hit 30°c on our arrival day and I was beginning to melt. Cue the traditional Mandarin Oriental paper fans which I was all too happy to whip out.

many architectural finds including the Ministry of Culture and Czech Museum of Music.

The journey into the city from Prague Airport is a short 30-minute hop that offers the unbridled passenger a relatively unobstructed view of the wider city, which unfurls itself dramatically as you descend the winding chicanes that surround the castle district. Situated within a complex whose history stretches back to the 14th century, the hotel is a rich tapestry of architectural styles ranging from the renaissance and baroque to the dazzlingly contemporary. This unique amalgamation of structures spans eight centuries of design. In its previous life, the hotel served as a Dominican monastery, and its current construction incorporates a substantial segment of the exterior wall of St. Mary Magdalene. St Mary’s church, one of

If you’ve arrived with very little forward planning or intentions of what you intend to see during your stay, the Mandarin Oriental helpfully provides a set of beautifully illustrated cue cards, each recommending local suppliers, pastimes and attractions. (like Na Stojaka). “There is always time to go for a beer, and it doesn’t necessarily involve sitting at a table. To have a quick beer while standing with someone is a Czech tradition. This is why so many restaurants are equipped with a counter located either close to the pipe or outside”.

We all know Prague is famed for its beer halls, but it’s the sentiment that lands.

Prague’s earliest, was erected on the site circa 1330.

Within the hotel, the design pays tribute to its monastic heritage whilst still maintaining its reputation for cultivating tranquillity. Original monk cells are preserved along with renaissanceera kitchens, a baroque refectory, and a cloister corridor whose vaulted ceilings rest upon intricately carved columns. The hotel boasts 99 distinctively appointed rooms and suites that are a fine example of understated opulence. Each space is adorned with parquet flooring, vaulted ceilings, and bathrooms finished with polished limestone. The hotel’s serene, sand-hued interior, characterised by elegant arched doorways, is tastefully interspersed with vibrant modern artwork and chic designer furniture. It’s a harmonious blend that respects the past and adds a sense of contemporary style.

Given our arrival time, we opted to dine at the hotel’s Spices restaurant, not surprisingly serving Asian cuisine alongside some hospitality classics.

Given the heat had absolutely no chance of abating that night, the hotel team sensibly suggested moving our reservation out onto the Spices Terrace in the entrance courtyard. I can assure you the main restaurant’s renaissance-style vaulted ceiling is absolutely worth an internal reservation, but not in the sweltering heat of a Mitteleuropean midsummer.

The aperitif of choice for the evening? a Havel’s Schnauzer. Becherovka, elderflower and lemon form quite the libation. Almost like a long Génépi,

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but with Becherovka - which has a hint of cloveinduced bitterness. Then the liquorice, courtesy of the anise.

If you relish Asian cuisine you’ll be pleased to find bulgogi, shumai dumplings and tandoori butter chicken on the crisply folded menu. I opted for the latter, and true to my grandmother’s advice - having been raised in Kharagpur - spice cools the body thankfully. The seabass and octopus with coconut parsnip and samphire was an interesting dish that elicited a fair amount of envy. If you’re the unfortunate owner of a western-only palate, you’ll find caesar salads, schnitzels and the obligatory club sandwiches aplenty.

were shooting, as by that point a Crodino Spritz had arrived and I was gladly distracted. Despite being at the property for three nights, I didn’t actually manage to take a drink at the hotel’s wellappointed bar, largely due to the oft-mentioned heatwave that was making its presence constantly known.

If you’re venturing out for dinner, I can highly recommend Na břehu Rhôny. Yes, it’s a French bistro serving an à la carte menu, oysters and Mediterranean fare alongside some incredible wines. Part wine bar, part restaurant, and housed in a beautiful building next to the embassies of Denmark and Japan. If you’re looking for something more traditional, NAPA bar and gallery The clientele was a mixture of well-heeled travellers is also a stone’s throw away, and promises a bustling and local guests seeking shelter from the heat. atmosphere of an evening.

Despite my best intentions to lock work away, I couldn’t help but listen with intent as a production If you’re still wondering why I’m recommending schedule was being debated by department heads French restaurants in Prague, perhaps you might staying at the property. I couldn’t tell you what they also like to try Cafe de Paris opposite the French

embassy and next to The John Lennon Wall.

Manifesting as a profound vestige of Prague’s storied past, the wall stands adorned with an array of messages and graffiti. It’s a tradition that took root subsequent to the untimely demise of Beatles luminary John Lennon, in 1980. I invite you to throw a stone in any direction in Prague and not hit something of cultural or historical significance.

I managed to clock some 25 miles across three days, eager to see as much as possible. You’ll find the Castle District, Štefánik Observatory, Kampa Museum, St Nicholas Bell Tower and many, many more worthy places to visit within walking distance.

As Prague is a destination city with more sites than you’ll ever be able to see in a long weekend, and ever increasing tourist numbers, I think a discreet and credentialed lodging on the West Bank is a welcome respite. The Mandarin Oriental in Prague delivers thanks to its incredibly high service standards and a one of a kind location.

An indulgen

Chaotic, intense and yet utterly mesmeris overloads the senses from the moment y immersing streets. With a history that stre true melting pot of European, Middle Ea trading centre that more than retains its

Words: Sarah Morgan

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T R AV E L : M A R R A K E C H

nt adventure

sing, Marrakech is a city that completely you set foot within its winding and alletches back to 1070, Marrakech remains a astern and African cultures; a significant s impact and appeal in the 21st century.

n - Global Travel Editor

THE CHURCHILL BAR AT LA MAMOUNIA

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fitted with modern air-conditioning, which is a lifesaver even when the sun is down. Every last detail is considered to ensure a pleasant stay to all guests, and there is an enduring feeling that this space has been lovingly created to showcase the best of what Marrakech’s traditional hostelries have to offer. The entire staff team proudly provides impeccable service with both passion and precision, ensuring a relaxing stay and a beautiful benchmark from which to take in the pleasures of the city.

LE FARNATCHI SUITE

W

ith a refined combination of blistering heat, aromatic spices and breathtaking ancient architecture, for centuries the city has been a veritable magnet for travellers and connoisseurs of the exotic, including names as illustrious as Winston Churchill, Charlie Chaplin, Yves St Laurent and David Bowie. Likewise, yours truly could not resist the pull.

Situated at the foot of the snow-capped Atlas mountains and just an hour away from the sweltering Agafay desert, Marrakech is a city of contrasts. The erratic energy of buzzing streets exists alongside the sublime opulence of the experiences the city has to offer, resulting in a dizzying yet multifaceted location for a wide array of vacation possibilities.

We spent the first few days within the walls of the old city Medina in Le Farnatchi – one of the first riads (a traditional Moroccan guesthouse) that opened its doors to those travelling through. Once a private home, it is now a boutique establishment and a sanctuary surrounded by a labyrinth of cobbled alleyways. We were accompanied by a guide who helped us navigate the streets on foot and find the intriguingly nameless doorway.

Behind the door hides a serene courtyard with a pool and an elegant marble fountain; a

startling contrast to everything we had seen so far. Upon arrival, we were welcomed with fresh mint tea and handmade canapés, and instantly felt like the most cherished guests at the riad.

Provided with cooling flannels - much needed as a result of the heat and dust - we were led to our suites.

“An elderly man nestles pots filled with a tangia that he is cooking for the locals in the hot ashes.”

My suite, one of the ten that this intimate riad offers to its visitors, was not only comfortable but also tastefully designed. The interior is artfully filled with traditional elements of Arabic and Berber crafts, including beautifully carved plaster, dramatic Moroccan lights, an intricate rug adorning the lounge area and mosaic tiles in an impressively spacious bathroom. I must mention that each suite is

Our first dinner takes place at the riad’s own rooftop restaurant, Le Trou Au Mur. A warm breeze and the mystical sounds of evening prayers compliment each item on the menu.

The restaurant offers many dishes familiar to international guests, but my colleagues and I chose items from the traditional Moroccan offerings, drawn in by the tempting aromas emanating from the kitchen. Having started with a selection of colourful salads served with freshly made local breads, my companions ordered the restaurant’s speciality – tangia of lamb - while I selected a traditional vegetable tagine. I cannot say I regret my choice, although the lamb slowly cooked over hot coals with honey and spices was absolutely mouth-watering, setting a high culinary bar for the remainder of our trip. We finished our meal with homemade sorbets enriched with orange blossom, strawberry and star anise before retiring to our chambers.

The next day, after having the most beautiful breakfast of fresh fruits, yoghurt and coffee served in a neat alcove in a tree-lined courtyard, we set off on a guided walking tour ready to immerse ourselves in the old city of Medina. Led by our guide Yahya, who entertained us with ancient and contemporary stories at every turn, we meandered through narrow streets, dodging mopeds and mules while squeezing through crowds, taken away by the vibrant variety of hundreds of shops and cafes everywhere. A sensory explosion of colours, scents, sounds and textures is what makes this city as unique as it is unforgettable.

Finally, we stop at the famous Madrasa Ben Yousseff, a mosque and school built in the 16th century, where young men were sent for up to a decade to learn the Koran. It is truly a sight to see; its grandiose symmetry and ornate cedar carvings impose a palpable sense of monastic discipline and hardship, all wrapped in beauty beyond measure.

Just a few alleys away we find an authentic farnatchi – a large traditional oven that historically heated the city hammams. An elderly man nestles pots filled with a tangia that he is cooking for the locals in the hot ashes. Nearby, there is another communal

THE TERRACE AT LE FARNATCHI

oven where people take their bread to be baked each day, a sign of a strong community spirit and the importance of keeping traditions alive.

Our next day in Marrakech started with another excellent breakfast that I absolutely refused to miss, despite still being tired after the previous day’s adventures. The first item on our itinerary was a visit to the Bahia As the temperature is creeping over the 30 Palace, which means “brilliance” in Arabic degrees mark, we escape to Le Jardin Secret and unquestionably lives up to its name. The or Al-Bahja, a magnificent riad that fell into architecture of the palace is an extraordinary ruin in the 1930s but was carefully restored example of the indigenous Berber and Arabic and now welcomes its visitors with two influences, boldly adorned with intricate incredibly beautiful gardens. The first is an ornaments and tiles, gleefully magnificent and exotic tropical square with a pool featuring flamboyant. The palace is still occasionally live turtles, leisurely enjoying the water. The used by the Moroccan royalty and dignitaries, second is an even more intricate garden space and proudly sits on top of the list of tourist that represents paradise on Earth as described attractions in the city. Honestly speaking, in the Koran, including the four pillars of milk, I could have spent hours walking in the honey, water and wine. marvellous gardens surrounding the palace and admiring the detailed ornaments covering We finished the day with a satisfying dinner its walls, but the itinerary was ticking away and at the famous Maison Del Arab, and as the another tuk-tuk swiftly took us back to the sun was already setting we headed back middle of the old town. There, we once again to La Farnatchi. A small tuk-tuk drove us passed the main square - equally as packed and through Jemaa el-Fnaa square; a bustling lively as it was in the nighttime. meeting point overflowing with music, snake charmers, dancing monkeys, noisy crowds and Finally we returned to La Farnatchi, which powerful aromas of street food which made by this point had already begun to feel like a us feel hungry again. Medina at nighttime is second home. We came down to the hammam both overwhelming and absolutely dazzling, for a relaxing treatment - a physical and the quintessential Marrakech experience spiritual ritual of cleansing and nourishing condensed within one hypnotic location. the body; one that is a fundamental tradition within Moroccan society and one that was

exactly what I needed after the two days of exploring the city. It was also a perfect way to say goodbye to the riad, as we were about to move to another residence – La Mamounia, one of the most famous luxury hotels in the city of Marrakech.

La Mamounia, often claimed to be the best hotel in the world, takes its name from the magnificent gardens surrounding the building, meaning “safe haven” in Arabic. This iconic resort celebrates its 100th anniversary this year and looks incredible for a centenarian. As we entered the grand dame of Marrakech, we were led by a host dressed in a flowing Arabic robe through an alley lined with palm trees to the main reception, which is breathtaking in its opulence and surprisingly spacious compared to the intimate courtyard that we grew so fond of in La Farnatchi. The signature scent of Bougie Dattes, delicious and intoxicating, created by Parfumerie Fraganard exclusively for La Mamounia fills the air of the hotel. The sensory journey continues to unfold as we are shown to our interconnected rooms. Each suite is an elegant blend of Arabic traditional and modern luxury. There is a lavish sitting room and a separate dressing area, an enormous bathroom equipped to the highest of standards and of course, a gigantic bed fit for royalty. The connected balconies overlook

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the serene gardens, and there’s no escaping the notion that La Mamounia takes the notion of opulence and old world sophistication very seriously indeed. Steeped in history and elevated by all the modern amenities, La Mamounia seems to encapsulate all the best qualities of Marrakech under one roof.

At the heart of the main gallery we find Le Churchill Bar – a tribute to their frequent guest who allegedly ran up a $100,000 bar tab in one stay. The bar is quintessentially English, offering the visitors an impressive list of cocktails and wines alongside delicacies such as smoked fish and caviar. Another feature of La Mamounia that is very close to my heart is a cosy cinema theatre where old classics and new releases are shown to the guests every

LE SALON DE THÉ PAR PIERRE HERMÉ

day, including the black and white films that I particularly love and which add to the illusion of entering a golden age of decadence.

saffron - a delectable array of culinary treats, all of which were taken to a whole new level by the magical atmosphere of the establishment.

A trio of Andalusian musicians accompanied Having relaxed and enjoyed a complimentary by distant sounds of calls to prayer, babbling Taittinger served with sweet and sour treats, we conversation and the clicking of crickets set off for dinner in the hotel. There are four created a truly captivating experience that I renowned restaurants within the walls of the will surely never forget. establishment, and tonight we opted to dine on the terrace of Le Marocain – an enchanting The hotel breakfast (forgive me for bringing ode to Moroccan hospitality. The menu offers up the food again) of fruit, yoghurt, freshly typical yet sophisticated takes on local dishes squeezed juices and aromatic coffee served that would amaze even the most experienced at Le Pavillon de la Piscine by the poolside travellers. The divine red tuna marinated with was a great start to the next day, and one that lemon confit, mango with cilantro, lemon and invigorated us to take up another adventure. coconut emulsion and a pigeon pastille with However, La Mamounia offers such a almonds followed by roasted turbot, eggplant contrasting experience to the tumult of the caviar with coriander and onion sauce with city that is ongoing right outside its walls,

it was actually quite impossible to resist the temptation of spending a full day at the hotel, enjoying the peace and opulence that are offered abundantly in this haven. A dip in the crystal-blue swimming pool followed by a cold drink in the shade of trees was precisely what my soul needed.

As we explored endless acres of gardens full of olive trees and gorgeous flower beds, we stopped for refreshments at Le Menzeh Tea Room which is situated in the first historical building of La Mamounia, hidden in the midst of the gardens. With chef Pierre Hermé at the helm, this charming pavilion provides an exquisite selection of chocolate treats, ice creams and pastries and lets the visitors embrace the preciousness of each moment -

“we spent three hours exploring the entangled streets of Medina and the outskirts of Marrakech in the sidecars of vintage motorbikes” EXECUTIVE SUITE AT LA MAMOUNIA

something which is an essential aspect of the Moroccan way of life.

As the sun started to set we decided to leave the peace of the hotel and headed into the city to have dinner at the renowned Comptoir Darna restaurant. However, even the great food and lively belly dancing could not keep us for long. We rushed back to enjoy one last nighttime walk around the grounds of La Mamounia, before drifting into a blissful and enveloping sleep.

The last day of our visit to Marrakech is perhaps one of my fondest memories of the trip. Having experienced the opulent lifestyle of tourists, we embarked on a completely different journey to round off our adventure.

With the help of two fantastic guides from tour company Marrakech Insiders, we spent three hours exploring the entangled streets of Medina and the outskirts of Marrakech in the sidecars of vintage motorbikes, ending the tour with a ride into the desert outside the city where we visited the stunning La Palmeraie oasis.

Herein lies my advice to you, if you are tempted to experience Marrakech and all the wonders it has to offer within the chaos, dust and heat: allow yourself to be a traveller, not a tourist. Only by approaching the city in this way, you may understand why Winston Churchill described it as the most beautiful place on Earth, why Cristian Dior claimed that this city had taught him the true importance of colour, and why it has stolen the hearts of many - myself included.

TAKE A BIKE TOUR WITH MARRAKECH INSIDERS

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Viva Ves

Brand power and peerless clas

Words: Benjamin Norris - Lifesty

1951 VESPA 125CC V31T FARO BASSO COURTESY OF BONHAMS

spa!

M O T O R C Y C L E S : V E S PA

ss on two wheels

yle Editor

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I

can’t remember the first time I laid eyes on a Vespa, but I can certainly recall the first time I knew I wanted one.

I was seventeen years of age, flitting vaguely between subcultures and trying to find the image I was certain would reflect the rebellious yet sophisticated, desirable and distinctly cool young man I knew lay beneath my adolescent exterior. Almost on a whim, I picked up a VHS copy of Quadrophenia - the cult ‘rock opera’ made by The Who, telling the tale of the countercultural mods and rockers in 1960s Brighton - and was immediately smitten by the sight of slick young men zipping around the suburbs on Italian-made scooters in skinny suits. That was it.

I splashed out a not-inconsiderable five hundred pounds on my 18th birthday, treating myself to a 1971 Vespa 125, featuring four clunky gears, a spluttering two stroke engine, fully decked out with a rack of sixteen lights and mirrors, and emblazoned with the unofficial mod icon of a bullseye on the body. Irritatingly, my peers didn’t get it. Even more irritatingly, my parents did. It mattered not - a lifelong love affair with the brand, its output, and the world of Vespa had begun in earnest.

My story, and the two decades of faithfulness that followed, is far from unique. To own a Vespa even a contemporary model, to which I’ve since

The PicNic is among the latest iterations of the timeless Primavera model - the long-running Vespa style that most closely and lovingly references the classic models of the 1960s. Vespa have long since aimed their limited releases at surprisingly niche audiences, and the PicNic (which comes with an in-built branded basket pannier, picnic blanket, and a host of finessed additional details) takes this approach to whole new heights. It is, in essence, a Primavera for people who enjoy an al fresco lunch.

According to Vespa, the PicNic was “created specifically to flee everyday stress and savour

upgraded myself more than once - is to immerse oneself in a lifestyle in ways other automotive brands would give an arm and a leg for. The scooters have never truly strayed from their original stylings in a stunningly stubborn Italian manner, and still evoke both the timeless cool of meandering through Tuscan villages and Milanese night scenes and the countercultural, rock ‘n’ roll spirit of 1960’s London.

Even the cinematic origin of my enthusiasm isn’t unusual. Vespa scooters have a canny knack of taking a star turn on the silver screen - perhaps unsurprising, given their inherent photogenic nature. It’s said that after Gregory Peck sputtered around Rome with Audrey Hepburn riding pillion in Roman Holiday, the brand shifted 100,000 models. Even the mighty Marvel machine stuck Deadpool on two Italianmade wheels for a chase scene through San Francisco, and Disney-Pixar’s Luca - a touching fantasy about a pair of Amalfi Coast sea monsters seeking their destiny - made a Vespa bike a star character and major plot device.

Not only did this latter appearance mean I now get admiring glances on my Primavera 125 PicNic special edition from preschoolers as much as from men in their sixties and seventies, it also (for a brief but beautiful moment) made my nine year old daughter think I was cool.

In seriousness, though, a brand tie-in with the

moments of joy through socialising outdoors in the most glamorous, carefree way, but still accompanied by the light lines, the brilliant performance, and the easy ride of a Vespa”.

They’re not wrong. It has the balance and handling of the best of the Primavera releases, can grunt out (at a push) 65mph, has plenty of head-turning pavement appeal, and is a whole lot of fun to ride both in and out of the city. I own one. I love it.

House of Mouse and its multi-generational nostalgia-inducing storytelling is something of a Holy Grail of PR, and one surely to pay off in fifteen years or so when Luca fans seek out their first pair of wheels.

Plenty has already been written about the history of Vespa scooters, of their launch in post-war Italy, momentary millennial slump and return to glory in the 21st century. The past decade has been an exciting one for the brand, introducing a wealth of artistic collaborations and forays in EV territory - a venture that signposts the longterm ambitions for this particular wing of the Piaggio family.

Indeed, it’s arguable that the brand has never been more popular or ubiquitous, and it isn’t hard to see why. Built for style and comfort over speed (although I’d fight anyone who claims a 125cc scooter isn’t the fastest way to get around the city, zig-zagging through traffic and jumping queues at traffic lights), brilliantly economical and almost too easy to drive, riding a Vespa really is as enjoyable and carefree as it looks.

Today, the Vespa family is at once broad yet refined. Let’s take a closer look at three contemporary Vespa releases that are looking at once forwards and back in equally thrilling measure.

THE VESPA-SPRINT-150 VELOCE

With its highly distinctive far basso low headlight styling, the GTV has been captivating fans of the Italian scooter brand since its launch in 2006, achieving the impressive trick of looking both brand new and at least 60 years old. The latest interpretation of the hugely popular line was unveiled earlier this year in Milan, and while it retains the unique profile that seamlessly matches the vintage with the cutting edge - the GTV calling card, without a shadow of a doubt - the most recent update has Vespa fans (myself included) making plans for their next purchase.

‘necktie’ detail, the latest GTV comes with a 300 HPE fuel-injected, four-valve and liquidcooled engine. As mentioned, Vespa scooters aren’t made for speed, but the GTV is willing to break the mould and make zipping through the city and along country roads that little bit more thrilling. It’s a beautiful bike, and possibly the clearest example yet of the brand’s commitment to matching innovation and power with instantly-recognisable style.

Alongside the tubular handlebar, front fendermounted headlight and reinterpreted Vespa

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For many aficionados and even most passive Vespa fans, the 946 is the model line that most immediately springs to mind when thinking of the classic Italian scooter brand. It isn’t hard to see why: created in 2013, the 946 (whose name alone, referencing the 1946 founding of Vespa motorcycles, gives some clue to its retrofuturist iconic status) is a beautiful bike which is clearly laying the blueprint for many generations of scooter to come.

necktie detail and waspy thorax body shape that champions the elegance of mid-20th century design. All is brought bang up to date with a nippy 125 or 150cc engine, oversized wheels and ASR traction electronic control system, planting the 946 firmly in the right here, right now of urbane chic.

The 10° Anniversario release celebrates the popular range by upping the ante on the whole old/new shtick. There’s the angled single seat,

F

rom vintage beauties to cutting edge electric two-wheelers, and from city runarounds to more powerful models fit for day trips, longer commutes and more, Vespa covers considerable ground for its loyal fanbase and newcomers to the fold alike.

Let’s end this profile with a memory, if you will.

My original Vespa was nearly forty years old, and was clunky, heavy, awkwardly-geared and prone to belch out great huffs of black smoke… but it looked the business, got me to art school and back, and was brilliant for picking up women.

I once found myself broken down on a remote stretch of bypass, heading home from a day of posing at Weston-Super-Mare. Not being mechanically minded and lacking a mobile phone, I wasn’t at all sure of what to do. Within twenty minutes and by glorious coincidence, a phalanx of mods - replete with parka jackets and squirrel-tail flags wagging in the wind - pulled up beside me. Twenty minutes later, we rode off together for a pint and an evening of dancing

to northern soul 45s.

Brand loyalty creates a sense of togetherness, a tribe of aficionados, enthusiasts and collectors, and ensures its acolytes come back for more, decade after decade after decade. If you can keep your fans looking cool while doing so, through late teens and adulthood to when they’re eligible for a free bus pass, you’re surely on the right track.

RED HELMET VJ1

THE SEASON'S BEST TAILORING

MADE IN ENGLAND

L I B AT I O N S : W H I S K Y

Libations Words: The Editors

In the realm of liquid alchemy where time and tradition converge, there is no more noble spirit than whisky. A libation steeped in culture and craftsmanship, whisky stands as a testament to the human pursuit of perfection in a glass. In this exploration of the amber nectar, we consider hallowed distilleries, the echoing caverns of aging cellars, and the discerning palates of those who have dedicated their lives to the pursuit of liquid excellence.

ARDBEG TEN YEAR OLD

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o say Ardbeg’s history is tumultuous is putting it mildly. However, irrespective of the brand’s struggles, here it is some 120 years strong. Located on the south coast of Islay in the Inner Hebrides, it’s probably best known for its incredibly peaty and smoky whiskies. Once described to me as medicine, the awards and accolades for its distinctive character and flavour speak for themselves.

The Islay stalwart was founded by John MacDougall, a local farmer and distiller, who obtained a licence to produce whisky in 1815.

Ardbeg was one of the first distilleries in Scotland to follow the tradition of using malted barley, along with fresh underground water from Loch Uigeadail.

“For the

alternative asset class chasers amongst you, the heritage angle should already have you calling the auction houses.”

“the doors of Ardbeg never close again”. The Committee consists of thousands of loyal Ardbeg fans from around the world who share a passion for the whisky and its history. Today, the Committee has more than 100,000 members in over 130 countries, who enjoy exclusive access to special releases, events and news from the distillery.

For the alternative asset class chasers amongst you, the heritage angle should already have you calling the auction houses. In 2022, the distillery sold a 1975 cask to a private collector for £16 million, thus beating The Macallan’s record for the highest cask selling price. I hope that they open it and share it amongst their nearest and dearest, and don’t leave it in a bonded warehouse.

Ardbeg Ten YO:

Ardbeg Ten Years Old is a masterpiece of peat and complexity, a single malt that balances the smokiness of the malt with its natural sweetness.

It does not overpower the palate with peat, but rather reveals its layers of flavour and aroma in equilibrium.

Ardbeg 10 is a symphony of peat and malt, a harmony of smoky fruit and zesty citrus enveloped in dark chocolate. It has notes of menthol and black pepper that cut through the sweet smoke, along with tarry ropes and graphite. It evokes the smell of smoked fish and bacon, green peppers, baked pineapple and pear juice. With water, it releases a salty minerality. It also has hints of lemon and lime, coal tar soap, beeswax and pine woodlands.

The taste is rich and powerful, with peat that sparkles with lemon and lime juice, black pepper that explodes with cinnamon-spiced toffee. It has a wave of brine that blends into smooth buttermilk, ripe bananas and currants. The final mouthfeel is of warm creamy cappuccino and toasted marshmallows. It has a depth and length that linger on the palate, with dry espresso, liquorice root and tarry smoke that coats the mouth with chewy peat oils.

The finish is long and smoky, with tarry aniseed, toasted almonds and traces of soft barley and fresh pear. Ardbeg Ten Years Old is a whisky that showcases the art and skill of the distillers, a whisky that offers a sublime experience of peat and complexity.

Ardbeg was once one of the largest distilleries in Islay, producing 300,000 gallons of whisky per year and employing 60 workers in 1886.

However, it faced a decline in demand and production in the 20th century, and was closed several times between 1981 and 1997. Allied Lyons (a conglomerate of Scottish whiskey distilleries) restored the distillery and resumed full production in 1998 - something for which it should be commended. You can credit the next owner, Glenmorangie, for launching the 10 YO Old brand in the year 2000 before selling to Bernard Jean Étienne Arnault. To be frank, as long as no one meddles with the base and the treble, we couldn’t care less who the parent company is.

There is a positive takeaway from all this corporate avarice, however. The Ardbeg Committee was established in 2000 to preserve the heritage of the whisky and to ensure that

ARDBEG BIZARREBQ

Anyone put boots on the ground? Show of hands… 0 for 3. Regardless, it’s a complex dram for the ages.

Ardbeg BizarreBQ Limited Edition: That’s right, barbeque. The arbiter of rain across the land, fire up as much as a charcoal briquette and expect the heavens to open. “Grilling Meets Distilling”.

This particular dram was seasoned into life by Master Distiller Dr Bill Lumsden and grill god Christian Stevenson. It seemed appropriate to wait to open it in the appropriate surroundings, grill side.

Double charred oak casks (presumably ex-Bourbon), toasted ex-sherry PX casks and ‘barbeque’ casks, which are heavily charred and custom-made using an old brazier. This is smoke at all-costs distilling.

However the nose isn’t as smoky as one might expect, in that it doesn’t entirely overtake the initial aroma and taste. It’s actually rather sweet and fruity, with notes of peach, pear, apricot and lemon tart. There are also some spicy hints of cinnamon and cloves, as well as a strong marine and mineral component, with hints of smoked mussels. The smoke is there, but it is subtle and balanced, allowing the other aromas to shine through. The nose is one of the most interesting elements of this whisky, as it shows all that complexity and nuance.

affecting every flavour: the fruit and sweetness are all charred and grilled, alongside those maritime notes. The BizarreBQ has a smoky and charred character overall that resembles Alligator, and a fruity and sweet element that is similar to Uigeadail.

If the 100,000 members of the Ardbeg committee have come to demand extreme peatiness, then they’re preaching to the choir.

Ardbeg Wee Beastie:

Launched in 2020 the Wee Beastie was always going to be considered a special dram for such a storied distiller. Ardbeg’s Director of Whisky Creation, Dr Bill Lumsden, said: “The casks chosen for its creation make it ideal for enjoying neat or as the mouth-watering main ingredient in a powerfully smoky cocktail.” Mickey Heads, Ardbeg Distillery Manager, went on to say: “A new permanent expression in the core range is always momentous for the distillery, but Wee Beastie is a particularly special dram. As it’s a

younger whisky, it means we’re able to get as close to the still as possible. So it’s safe to say this is a ferociously good wee nip!”

Wee Beastie is the latest addition to the Ardbeg core range, a peaty, smokey and complex single malt that is only five years old. This young and fierce whisky is untempered by age, and offers a pretty raw and powerful experience.

Ardbeg Wee Beastie draws inspiration from the mysterious legends of Islay, where mythical creatures are said to lurk in the peat bogs. Ardbeg Wee Beastie is a ‘monster of a dram’, with a formidable bite and a captivating character.

The Wee Beastie is matured in ex-bourbon and Oloroso sherry casks, which impart rich and spicy flavours to the whisky. It has intense aromas of cracked black pepper, sappy pine resin and sharp tangs of smoke. Then comes an explosive taste of chocolate, creosote and tar, followed by savoury meats that sink into the palate. It has a long and salty finish that coats the mouth with hints of cocoa, fudge and savoury meats.

ARDBEG WEE BEASTIE

The palate, however, is a different story. The spices become dominant, with paprika and chilli pepper adding a fiery kick to the whisky.

The roasting also becomes more pronounced,

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ogouchi is a unique brand of Japanese whisky that combines Scottish malt and Canadian grain whiskies in an unconventional way. Blended in Japan by Chugoku Jozo, a company that has been making sake since 1918, the blended whiskies are then aged in a tunnel 361m long and dug in 1970 that runs beneath the town of Togouchi, near Hiroshima. The tunnel was originally built for a railway project that was never completed, and it offers a stable temperature of 14°C for ideal maturation.

In 2017, Chugoku Jozo established the Sakurao Distillery on the shores of the Seto Inland Sea in the same region, where it started to produce its own malt and grain whiskies using local ingredients and water. The distillery also makes gin and vodka with botanicals from Hiroshima.

The company’s goal is to gradually replace their imported casks with its own distilled whiskies, and make Togouchi whiskies 100% Japanese.

Togouchi Premium Japanese Blended Whisky: So this is a new combination, even for us.

Canadian, Scottish and Japanese doesn’t immediately strike you as a combination of the ages. But again, let it sit for a moment.

The blend has a clear golden straw colour and a sweet nose of coconut, caramel and pineapple.

The palate is smooth and light, with a hint of menthol from the grain whisky, whilst the finish is slightly bitter and smoky, with notes of tobacco, caramel and candy. It’s an interesting and unique blend that showcases the diversity of Japanese whisky. There is a lightness and subtlety past the initial liquorice hit.

This one certainly divided the room. If you’re looking for a slightly more established dram, try the 15 or peated cask finish. The Tougouchi Beer cask also goes on our long-term list for the tasting table but maybe we’ll visit the distillery for that particular experience.

TOGOUCHI PREMIUM JAPANESE BLENDED WHISKY

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hite Oak distillery is perhaps Japan’s oldest whisky producer. Do the rounds, see what the whisky pundits say… but as it obtained the first licence for distilled spirits in Japan in 1919, it stands to reason. Established in 1888 on the site of Eigashima in the city of Akashi, we can only wonder what those pre-bureaucracy days would have been like. The company’s history actually dates back to 1679. Take that in for a moment - German emperor Leopold I was signing a peace deal with France, and King Charles II was ratifying the Habeas Corpus Act. We think they would have probably been wanting for a dram.

For decades, it only catered to the domestic market with traditional methods and small batches, originally making sake and shochu exclusively. In 1984, it built a new distillery dedicated purely to whisky production, near the sea and the city of Kobe, where the climate is mild and stable. White Oak makes single malt whisky that is limited in quantity but evergrowing in quality.

Despite our love affair with Japanese whiskies thanks to DOP Liam Healey, the Akashi in any variety is a first for the tasting table.

of vanilla, caramel, honey and oak. The palate is smooth and silky, with flavours of almonds, walnuts, dried fruits, chocolate and spices. The finish is delicate and floral, with notes of jasmine, rose and lavender.

“The company’s history

actually dates back to 1679.

Take that in for a moment - German emperor Leopold I was signing a peace deal with France, and King Charles II was ratifying the Habeas Corpus Act.

”

Akashi Japanese Blended Whisky Akashi White Oak Whisky is a blend of 30% malt whisky and 70% grain whisky, aged for three years in bourbon casks and then for two more years in Japanese oak barrels. Whilst it might follow the Scottish tradition, it has a distinctive bourbon-like character with notes of honey, fruits and grain on the nose. The taste is creamy, spicy and fruity, with hints of raisins, malt, camomile and sherry.

As a starter for ten and an introduction to the distillery, the blend is a good opener but it does lack that long finish and complexity perhaps more associated with western palates.

WHITE OAK AKASHI 5 YO SHERRY CASK

White Oak Akashi 5 YO Sherry Cask: This Akashi Single Malt five year old Sherry Cask is a true expression of the small family craft distillery’s tradition, as it comes from a single barrel, the n°61071. Aged for 5 years in a Sherry cask, this whisky offers an intense fruity aroma and a deep amber colour, which reflects the influence of the Sherry cask. The nose is intense and fruity, with aromas of raisins, figs, dates, plums, cherries and oranges. There are also hints

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stablished in 1897, the Tomatin distillery uses pure water from the Allt-na-Frithe, where it takes its five million litre capacity.

Acquired in 1986 by Takara Shuzo and Okara, Tomatin has 14 warehouses, an onsite cooperage and 12 stills.

Its rich whisky-making heritage dates back to at least the 1500s and the Antiquary - a premium blend crafted with only the finest and rarest malts - solidifies that legacy. At 315 metres in the Monadhliath Mountains, Tomatin is one of the highest in Scotland. We imagine it’s quite a sight in the Highlands.

Our last two drams from this storied distillery were way back in 2014; A Tomatin 14-year-old port wood finish single malt and a 30-year-old.

That latter was limited to just 2000 bottles and was matured in Bourbon Hogsheads before being finished for over three years in Oloroso sherry butts.

In this issue, we’re considering a 2001 single cask, a 45-year-old from Spanish Oloroso sherry casks and from their core range, the go-to 12 year old.

Tomatin 2001 Single cask A limited edition release bottled exclusively for the UK market with only 657 bottles available?

Count us in. Distilled on the 30th November 2001 and matured in a Pedro Ximenez (PX) sherry cask for the final six years, the PX cask imparts a rich

TOMATIN 12 AND 45 YEAR OLD

and sweet character to the whisky, with notes of maple syrup, rum-soaked sultanas, dark chocolate and espresso. The palate is equally complex and satisfying, with flavours of cherry, plum liqueur and Jamaican ginger cake. The finish is long and balanced with a mix of sweetness and bitterness.

At 57.4% ABV it’s rather punchy, which adds to its intensity and depth. It’s a rare and indulgent whisky that showcases the craftsmanship and quality of the distillery. Quite simply, it’s one that deserves to be savoured and enjoyed.

Tomatin 12 YO The 12-Year-Old single malt is the place to start when exploring the core range and sits between their non-age-statement Tomatin Legacy and their Cask Strength offering.

The 12 is matured in ex-bourbon barrels for most of its life and then finished in ex-Oloroso sherry casks for six to nine months. This adds a layer of richness and complexity to the whisky, with fruity and spicy nuances. The nose is buttery and inviting, with aromas of raisin and almond, and the palate is smooth and sweet, with flavours of oak, vanilla, ginger, orange peel and mint. The finish is long and satisfying, with a touch of sherry spice.

The 12 Year Old was revamped in 2014, and bottled at a higher strength of 43% ABV. This gives the whisky more body and enhances its character.

Tomatin 45 YO

Whilst the days of being able to drink and smoke your high-grade duty-free on your Pan Am flight have long died, the 45 is indeed a travel exclusive (although not in private terminals, perhaps).

This remarkable new expression will stand at only 250 bottles, so if you’re a collector, it might well be one for the collection. The Tomatin 45-Year-Old is aged for more than four decades in a single Spanish Oloroso sherry cask, imparting a rich and complex character to the spirit. It is sublime.

Bottled at a natural strength of 41.5% ABV, it maintains its natural colour and as it’s non-chill filtered, the integrity and purity of the whisky is ensured. It has a deep mahogany hue that reflects its long maturation in the sherry cask, and a nose that reveals tropical fruits, summer berries, cherry and roasted coffee beans. The palate is equally enticing, with dried fruits, blood orange, salted caramel chocolate and herbal bitters. The finish is long and smooth, with a hint of sherry influence.

We understand the 45 is presented in individually numbered crystal decanters created by crystal experts Glencairn, further adding to its inherent collectibility.

Tomatin’s 45 Year Old is a testament to the heritage and perseverance of Highland whiskymaking, and a rare opportunity to taste a piece of history.

I AM LEGEND Words: Aaron Edgeworth - Motoring Editor

Photography: Roger Chan

It’s a curious time in the automotive industry, one of flux and change.

It may well have been this way for longer than I realise, or perhaps, longer than I care to admit. With so much change, once in a while it’s useful - nay, healthy - to look back and consider certain high points. Products that have stood the test of time, and those that will be remembered and lauded for many years to come.

AU T O M O T I V E : A U D I T T & R 8

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igh points. Design icons.

This year sees the end of production for two such stalwarts. Two cars that have very much been part of the automotive zeitgeist for as long as I can remember. That they come from a single manufacturer says something not just about the manufacturer, but a golden period for their design ethos.

That the products have diversified so widely from their original form speaks of their success. I am speaking, of course, of Audi, and of the TT and R8.

and linear ethos, all manual, all four-wheel drive and all accessible, has developed into a product line-up that now spans three designated models, including a coupe, a convertible and four power outputs. The basic TT now has two variants of the ubiquitous turbo inline-four seen in many a product, and the not-oft’ seen 3.2 V6.

The TT was introduced to the world at the 1995 Frankfurt Motorshow after a year under the pen at the Volkswagen design centre in California. Formerly, Audi had produced some iconic coupe models. The 20v Quattro of the eighties followed by the sensibly named ‘coupe’ of the early nineties. The TT was, however, something more interesting than the standard formula for a small coupe. Not only did the name emote feelings of racing, history and nostalgia, but the styling seemed to bridge a curious line between history and modernity in a way that was previously unseen.

That the name did not follow any previous Audi nomenclature also set it apart from its predecessors. What started as a relatively pure

It was a full decade later, in 2006, that we were to see the introduction of the Audi R8, despite eagle-eyed viewers seeing an R8-esque car whizzing a bionic Will Smith around a futuristic cityscape in I-Robot. Had they kept it in production we may well have even seen the self-driving options that also featured. Sentient killer robots, however, we hope remain slightly further into our future.

Don’t think that a bad thing. Were it not for its success, we wouldn’t have the diversification of the product line-up that we have seen; a fact shared with the other powerhouse from Audi that we are reminiscing about, the R8.

That first generation of the R8 featured a two-drivetrain line-up, the 4.2 litre V8 seen in a variety of other products, and a Lamborghiniderived V10 seen in the Gallardo, and later the Huracan as the second generation arrived.

Such was its impact on the cultural milieu,

that it was also Iron Man’s car for the lifespan of the franchise. I’ll admit to never having seen any of the movies, but can imagine that it didn’t exactly harm the visibility of the product for a generation of buyers.

Technology was high on the agenda with the R8, with magnetic damping, an aluminium and carbon-fibre body, and as a world-first, full LED headlights. Part of the design focus of the TT had followed through, and neither really suffered the ignominy of looking nothing like the concept used to wow the public. These two, whilst not facsimiles of the show concepts, retained enough of the impact to genuinely register on the consciousness, especially when first seen on our roads.

The early days of the TT saw it perhaps unfairly maligned as a ‘hairdresser’ car (a slur very much of the late nineties). That was as reductive as it was patently untrue, as the small, cutesy convertible or coupe was all the rage. Manufacturers as runamill as Ford were producing the StreetKa, Peugeot had the 207CC, further up the food chain Mercedes was producing the SLK and Porsche, the Boxster. There certainly was a newly quarried niche in this mountain of automotive.

In the 25-odd years since its introduction, the TT is now lauded as a bonafide design

classic. This wasn’t the first incarnation of the design language, but perhaps the strongest representation of it in the range. A4, A6 and A8 had preceded, but in part due to their mass production and appeal needs, the language wasn’t as pronounced as seen in the TT. The appearance of the car as almost milled from a single piece of metal is no mistake; the geometry - which almost pays homage to the circle - showcases its Bauhaus inspirations for Torsten Werner and the design team.

I was lucky enough to sample a TT convertible 40 TFSi; in essence, the entry-level car in the range. Resplendent in Turbo Blue and featuring the best that the options list has to offer; a digital cockpit, Bang & Olufsen sound, premium Fine Nappa leather and a host of ‘pack’ options thrown in for good measure.

It has been a while since I last drove a TT and I am reminded almost instantly of why

“In the 25-odd years since its introduction, the TT is now lauded as a bonafide design classic.” the car was such a success. Small, agile and wonderfully well built, there is little else that can match the TT for an all-round package.

Suspension, compliant. Usability, through the roof. For me, the TT is a fun driveway mate; roof deployment is ‘blink of the eye’ quick, the car itself is as quick as it needs to be. That’s to say, off the line it’s punchy enough, and only at speeds that one shouldn’t be unleashing on public roads does the four-cylinder tend to lose that top end push. No matter: for that there is the TTS and TTRS to satiate one’s rule-breaking urges.

Those additions to the TT stable are probably the leading factors in her success. The car that appealed to many now had a variant to satisfy most.

Now, at its farewell in 2023, we have seen three generations of the TT. The second generation brought more of the same but in accordance with the fashion of the time. That is to say,

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design cues were less set-square and more compass. Flowing lines softened much about the TT’s appearance for its second generation.

The other aspect, being very time-specific is that Audi now offered the TT with a - wait for it - diesel engine. Yes, it was a very good diesel engine, and lest we forget, ‘clean diesel’ was marketed as the best thing since unleaded fuel, at the time. Turns out it wasn’t quite the case, and now it seems an anathema that a small cutesy coupe would sport an oil burner out of choice.

Technology was also ramped up, with the original’s pared-back interior now including a wealth more infotainment for one’s entertainment, and under the body, magnetic dampers were bringing some of the R8 panache to the TT party. The TTs launched in 2008 boasted not quite an all-new version of the two-litre inline four, but changed enough to ramp up power by 60 bhp over the standard model. The TTRS followed a year later in a new five cylinder engine that gave an injection of some 70 bhp over that of the TTS. Audi was resolutely part of the German horsepower hunters in that era of production. Lest we forget, their RS6 sported a Lamborghini-derived V10 and the M5 over the way in Bavaria similarly housed an unnecessary V10 unit under its bonnet.

2012 saw the launch of the TTRS plus, bringing power output up to 355bhp.

Compared to the 148bhp of the initial base model back in 1996, the TT had been to the gym and had obviously been juicing. The third generation saw much of the same - perhaps

“Compared to the 148bhp of the initial base model back in 1996, the TT had been to the gym and had obviously been juicing.” more, actually - as the TTS and TTRS models became even more deeply embedded in the Audi range. The success of the general RS product was spurred in part by the TTRS. Given its sales, Audi quickly departed from the

single RS model ethic, which in fairness, some had grown to love.

The looks have wavered little across those three generations, with each one resolutely looking like a TT. It is that strength of design language and the quality of the product that also made the R8 such a success. For my journey down memory lane, I actually chose the model least connected to the original: the R8 Spyder RWDV10 Performance. With the first generation of R8 starting with the now legendary 4.2 litre V8, the second generation doesn’t feature any V8 engines, but does give the option to power only the rear wheels, a choice a first-generation buyer could not make. Ironic really, given that the concept shown at the 2003 Geneva Motorshow actually housed a twin-turbocharged version of the V10 engine used in Sant Agata. The V10 entered the lineup three years after launch in 2009, and such was its success that the V8 was discontinued in 2012, with only the V10 remaining.

Back to the car.

The RWD R8 has long been lauded as the besthandling car that Audi makes. I am not here to disagree. There is a litheness that combines with a directness at play, making the R8 RWD an astonishingly quick ride over almost any

distance. The nose feels light but playful, and it dances over the road surface in ways that the slightly portlier Quattro model can’t match.

The model supplied was in Vegas Yellow with contrasting black pack options, and I am waiting for the promulgation of the law concerning bright press car palettes (I am sure that it is due any day now). The Performance part of the nomenclature replaces what was previously plus, and the RWD replaced the shorter lived RWS model. The name changed in part to the permanent addition of the model to the lineup.

562 bhp as tested makes this R8 no slouch, but in reality, none of the variety of models offered has ever been something that could be accused of being slow. Now utilising much of the Quattro-derived performance upgrades such as carbon stabilisers, and the improvement seen in Audi’s internal technologies such as digital dash and the use of Apple and Android carplay, have created a final product that ticks pretty much every box that one could think of. Audi’s drive select adds variety to the setup, although I must admit to lamenting all manufacturers’ lack of a ‘road test’ button. BMW is close with the M buttons, because we all know what we want. Exhaust, loud. Gearchange, savage.

Suspension, comfort. However, once you’ve taken the three minutes to scroll, shift, set and settle, the R8 spyder really is an engineering marvel.

Much like the TT, the R8 stands as a design classic. Each variant through each generation, is resolutely what it set out to be. Yes, the diesel perhaps does dilute away from the sports ethos, and the price tag of the latest models put it firmly in exotica rather than sports.

Despite this, they stand alone and have stood the test of time - 25 years for the TT is no small feat. Given the cluttered space that automotive lives within, to have so obviously a recognisable product is certainly a testament to the design and engineering at Ingolstadt.

With much of the industry headlong into an evolution to EV, the e-tron and the like are the models that seem to garner the column inches and the YouTube minutes. The all-electric R8 that Audi developed through the first generation, whilst making it to production, never saw more than 100 examples sold.

Curiously, had that variant been taken more seriously by the buying public, we may not be losing such an icon but rather gaining yet another variant. As Mick once said, we can’t unfortunately - always get what we want.

At the time of writing, Audi will have produced over 40,000 units of the R8. There were over

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270,000 units of the first generation of TT alone, so adding up those further numbers seems churlish given its obvious success. Over 25 years of production for the TT and almost 17 for the R8, they are models, shapes and forms very much ensconced in the zeitgeist.

From the connection to Iron Man with the R8 to the accolade of Car of the Year bestowed upon the original TT in 1999, these are products that were taken to heart and are as

recognisable as the Mustang, the Atom or the plus four.

That they are made by the juggernaut that is Audi makes this even more interesting.

A recognisable brand identity and design language is one thing. Creating a product that will live long in design alone makes me think there will be a low-slung coupe or convertibleshaped hole in the landscape when we lose these two icons.

BUILT BY HAND. DRIVEN BY PASSION. Pembleton Motor Company operates at the intersection of vintage design and contemporary technology, creating brand-new cars that evoke feelings of nostalgia and redefine what it means to be connected to the road.

Designed, manufactured and assembled in-house by a team of highly skilled craftspeople, the V-Sport boasts a dry weight of just 298kg, offering supreme driver feedback for a visceral driving experience like little else on the road.

Pembleton Motor Company t: 01299 832304 | w: www.pembleton.co.uk | e: sales@pembleton.co.uk

T R AV E L : T H E P I G O N T H E B E A C H

the

Pig

on the Beach

BEAUTY EDITOR NAOMI LAKE HEADS OUT FOR A BOUJI BEACH BREAK

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T

here is something so quaint and comforting about the Southern English coastline.

As you sit in admiration, you can bury your bare toes into perfectly tended lush lawns which give way to glittering views of the English Channel. Your view is blinkered only by white chalky cliffs and lazily dancing trees. You feel the sun on your back, and the crisp breeze waving over your shoulders whilst you listen to the birdsong, your glass gently twittering with ice as it beads with condensation.

Your locational longing lingers today at The Pig on The Beach, situated upon the cliffs above Studland Bay in Dorset. Winding through the rural country roads and wildflower verges, you will eventually meet the familiar brass pig tucked behind the high hedges. Your first glimpse is of a modest house with a striking yellow frontage entwined with wisteria and jasmine.

In my humble opinion, the best course of action for a stay is a lunchtime arrival - all the better to imbibe the salty air from the vantage point of the lawns with a hand-made wood-fired pizza and a refreshing spritz. Our host Rachel offers a gentle nudge when our room is ready, leading us over the lawn with a full view of

the house and its 23 unique rooms. Originally commissioned in the late 19th century as a summer residence for Lord Bankes and his 14 children, it’s pulled together from a bundle of turrets, wings, chimneys and windows, and said to have been modelled on a sand castle.

The path to your room might take another direction, as ours did, towards the walled garden adjacent to the lawns to The Bothy or The Lookout, their most cherished rooms both formed from the walls of two old dovecotes.

The latter, the larger of the two and our homefrom-home, invites you to languidly stretch yourself across two floors, with a cosy bedroom on the ground floor and a spacious dressing room on the first.

In that delightfully placid spell between lunch and dinner, The Pig offers you many options to while away your time. You might take your long-ignored book to a lounger on the grounds, explore the walled kitchen garden or use one of the hotel bikes to pedal around the surrounding lanes. A perfect spot to catch the waning sun is Knoll Beach, just a three-minute walk from the hotel, with a beautiful six-mile meander on the bay and adjacent dunes should you wish for a longer stroll. There really is something in the saline air that melts away the memory of the outside world, allowing you to

smoothly slip into a lower gear.

With an afternoon of relaxation behind us, we are welcomed into The Conservatory for dinner. With high glass ceilings and colourful stained glass, we are seated in a bustling space filled to the brim with very special guests.

Adorning every windowsill, table and corner space of the floor are rooted cuttings and seedlings, looked after by a team of on-site gardeners, awaiting their big moment when they might move out to the kitchen garden. It’s an intriguing space, and I look around keenly trying to name each plant, with helpful hints from Joe, our host for the evening, before he introduces us to the inimitable 25-mile menu.

The concept is simple. Dining is at the heart of each Pig residence, with a vision centric to the gastronomic experience, serving dishes from a British Kitchen Garden, fluid in its evolution throughout each micro-season. Their menu keeps as close to its namesake as possible; fiercely supportive of their local suppliers with respectful honesty in the provenance of ingredients. The menu may change twice daily, depending on what the gardens can present.

Joe walks us through the dishes developed

by Head Chef James Shadbolt, with a menu divided between garden, farm and sea. Each suggestion is accompanied by thoughtful anecdotes as to how they found an ingredient or where it’s from.

We start with the crispy kale, aromatic, textural and seasoned with homemade seaweed salt, the ingredients collected locally by their resident forager Guiseppie Sinaguglia. The potted smoked trout topped with freshly picked pea shoots, delicate and fragrant, comes from the Wessex Trout Farm 17 miles away in Tolpuddle.

It’s an honouring of each and every ingredient, and a menu on which vegetables are often let to take the lead on a dish. The famous Isle of Wight tomatoes are not to be missed.

This evening’s offering combines rich sweet beefsteak tomato with creamy and tart mozzarella from Buffalicious in Somerset; a find Joe tells us was originally made by The Pig near Bath, but was deemed too good not to share with the rest of the hotel group.

GRILLED SOLENT MACKEREL, GARDEN BEETROOT & PICKLED ROCK SAMPHIRE

Of course, it wouldn’t be fit not to pair each course with something from their expansive wine list. Our sommelier Eugene takes us thoughtfully through pairings. A glass of the creamy Langham Sparkling Rose from Dorset to start, followed by the Kits Coty Bacchus from Chapel Down. Bottled in 2020, the warm vintage gives complex notes of tropical fruits, citrus and green nettle with a chalky minerality and crisp finish fitting for the offerings of the

THE SHEEP HUTS BY JAKE EASTHAM

THE CONSERVATORY

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kitchen garden. If a fan of red, the Pinot Noir from Danbury Ridge, Essex is a pleasure, also a 2020 vintage.

Our mains take us further on our journey around Dorset. The risotto of rainbow chard is a walk through the gardens, the earthy greens matched with the saline Dorset Blue Vinny cheese. For something from the farm, Red Ruby beef beetroot and thyme sausages were a hearty choice, with foraged seasonal wild garlic mash and piquant pickled carrots from the garden. If you can save any room for dessert, the wild fennel set milk is a festival of flavour, with New Forest strawberries and roasted white chocolate. Of course, every cheese on the board is Dorset-made too.

The following day I take a stroll to the end of the gardens, where a small copse of trees is home to two shepherd’s huts converted into unique treatment rooms. Louise guides me through the Bespoke Massage from the carefully curated menu of treatments. No music was required, just the sound of morning birdsong and the breeze through the trees outside the ajar door. With 60 minutes of mindfulness and expert kneading, I leave walking on air and dawdle back to the room feeling that every knot has been untied.

The unique aspect of The Lookout is the private access to The Pig Hut, available from 10 am on the day of arrival. Our afternoon consisted of stretching our legs along South Beach and resting and reading at the beach hut, tucking into a carefully prepared Pig-Nic Lauren had arranged the night before. With sandwiches, crisps, fruit, iced coffee and a delightfully chilled bottle of wine, we were fortified for a leisurely walk to Old Harry Rocks to see the natural arches and pinnacles, spotting peregrine falcons hunting along the cliffs.

Each member of The Pig collection brings new life to a historic building, and The Pig on The Beach does not disappoint when it comes to lineage and the accompanying subtle details of its heritage. The beauty of this hotel is how it places you in the perfect spot away from it all, gently encouraging you to step away from life’s daily irksome tasks with a leisurely attitude. Wide views to soak in, beautiful dining to indulge in, well-tread coastal paths to wander, sweeping country roads to cycle and soft sandy beaches with shallow waters perfect for swimming. I had a sneak preview: two new piglets will be joining the hut soon, and I can’t wait to visit them too. With almost every trip away you have some feeling of longing not to leave, but for me, this trip elicited an especially heart-wrenching goodbye.

JUST IN CASE Voited Cuddle Boot The lightly-padded cuddle boots take the chill off the ground as I step out of our cosy room. Made with 100% recycled materials, they look after the outdoors as you explore. A new staple for any gentle indoorto-outdoor adventure, be it a walk around the dewy garden at dawn with a steaming cup of coffee, post an outdoor swim or slip on as you walk to breakfast.

Voited Cloudtouch Blanket It’s your best buddy for all manner of outdoor adventures in the unpredictable British Summer, with a water-repellant and wind-proof outer and a super-soft fleece lining. With its multi-use features, it zips into a sleeping bag for one, combines with a second blanket for a sleeping bag for two, folds into a soft fleece pillow and can be snapped together at the corners to make an easy breezy cape for one.

Yogi Bare Cosmic Travel Mat Before breakfast, take your flow wild around the grounds. Yogi Bare’s travel mat is no second-choice, with great grip and cushion. Super light-weight at 1.5kg yet folding into a square, it makes for easy packing.

The Pig ‘at home’ cocktail set Whilst not a pre-packing endeavour, this is definitely something to pack as your leave. With The Pigs ‘at home’ Cocktail set you can relive your sundowner moment on your own time, with their collection of four prebatched cocktails, including their Grapefruit & Thyme Spritz.

The Aperitivo! Co, Sofia Rose Vermouth One of the many home-grown brands with a home-from-home at The Pig, The Aperitivo! Co’s Sofia is their newest release, a delightful, if possibly slightly too quaffable (if there is such a thing) Rose Vermouth hailing from Bristol. Surprisingly delicate and beautifully fragrant, their blend combines orris root with chamomile, Roman wormwood with mint, and finished with top notes of rose petal and fresh raspberry for a liquor as unanticipated as it is deeply enjoyable. Serve alone over ice, in a unique martini or long with cream soda.

AARON EDGEWORTH STEPPING OUT IN THE VELAR P400E HSE

AU T O M O T I V E : B E Y O N D AC Q U I S I T I O N

BEYOND ACQUISITION

Words: Aaron Edgeworth - Motoring Editor

Photography: Roger Chan

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I

t may seem a little unfair, but I have always wondered what the point of the Range Rover Velar was. Manufacturers nowadays tend to work to the ‘Field of Dreams’ playbook - namely, build it, and they will come. Niche vehicle after niche vehicle. Want a car that demonstrates your vegan principles whilst allowing you to indulge in your favourite pastime of magnet fishing? We have the model for you.

It’s not so much a surprise that it exists, I just wondered for who, what or why?

a Velar P400e HSE. For seven weeks. This is usability and ownership, y’all. I spend a lot of time in a lot of vehicles. Loans and launches, launches and loans. But having a car, any car for a longer period opens one up to the whole gamut of scenarios and gives far better insight than a week or less could. For the most part, any car for a week is good. How it fares in usability over the longer term? Well, we shall see.

The arrival of the Velar in 2017 heralded the continuation of the design language adopted with the Evoque, and which would set the stage The wonderful people at Jaguar Land Rover have for the interior elements that became signature provided me with the tool to answer that question: features of the brand in the following years. The

use of the multi screen set-up was derived from the other recent JLR product, that being the i-Pace. Six years later and we have seen the most complete revision of the model since its release.

That means a small update to external features, the addition of trim options and colours to the bright packs, new wheels and new colours.

Internally, the updates to the infotainment and the functions provide an even slicker place to, well, themselves.

So, it’s a good-looking thing. This variant is the P400e HSE, specified in Hakuba silver and boasting the R-Dynamic black pack, which means the dreaded black wheels - a brightly lit

stage for those that can’t park. Now, I can park. I just don’t like black wheels.

The colour is bright and shows the subtlety of the shadow lines, but also provides a great colour for which to survey the lines and proportions of the car. It is by no means small, but also is nowhere near the footprint of her older siblings. The interior is of great quality, on the drive it’s quiet and refined, and CarPlay is one of this century’s best inventions. With a full charge and working in combination, it’s really quick. Like, get your Golf GTi out of my way quick. Everyone thinks it’s an Evoque. It’s a lovely place to spend a long journey in. Why can’t they make a massage seat function

“Garden centre, check.

Excel, for the passport office, the other bloody side of London, check.” on the seat pad as well as the seat back? These are some of my musings since it arrived.

To say I’ve done a lot since it arrived would be quite the understatement. Garden centre, check. Excel, for the passport office, the other bloody side of London, check. Back to the

in-laws in Bristol, check. Goodwoof for dogs, check.

Have I made use of the battery? A little anecdote, if you will. My neighbour is somewhere in his late 70s, and is somehow the most technologically proficient person I know. Solar? He’s had it for 20-odd years, and feeds the grid. Warm air heat pump. A lift - no word of a lie - in his house. He made himself planters in his garden a couple of years ago, and you know how much wood was left over? Sawdust. Anyway, he currently drives a Skoda Enyaq after a year of Nissan Leaf ownership. Because of his power set-up, and the storage bank of old Prius batteries, he can store

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and charge according to the source of power.

Get this. He did a year and a half of Leaf ownership and charged it exclusively on solar for 18 months. Not a penny of his own money went into running that car. He is basically my hero.

this could be one of the best products on the market today. But, and it’s a big but, that’s a small window of need for a small demographic of people. I averaged 27.7 mpg over the course of my 3000 miles. Not horrendous, not great. Maybe I’m unfairly maligning what I think the personal need should be. Perhaps you make many frequent small journeys and the occasional long distance, in which case it probably makes masses of sense. I think some difficulty with EV and PHEV adoption is that one requires a need, and then a product that matches that need. Sometimes that isn’t instantaneously obvious.

I digress. Knowing the impending arrival of the Velar, he has been more excited than me. At arrival, he was outside offering a charge within the first 38 seconds. Subsequently, I have charged a good few times on the good graces of my neighbour, and that big ball of fiery rage we call the sun. I quite like driving on pure electricity, and if I’m honest, there is a tiny hiccup of smugness that rises in the gullet when one chooses to do so.

Back to the car. There were some instant thoughts I had from the first couple of days A little more detail as to that drivetrain. It is, alongside the car. Firstly, where the roof blind in fact, the same drivetrain as was present in and cabin light switches are located is rather the full-fat L405 Range Rover that I tested 18 pronounced. I headbutted it on entry three months or so ago. In the smaller, lighter Velar, times. I was unamused each time. Secondly, the it certainly makes more sense, but those gains central tunnel - where two very accommodating over the portlier sibling don’t necessarily provide cup holders are housed along with a storage the results that you might expect. The range on bin and the gear selector - is, again, quite pure electric is 26 miles or thereabouts, the L405 pronounced. I punched it four times when peaked at 18. Gains there may be, but crossing pulling my seatbelt on. Each time, I was equally continents we are not. unamused. These all happened independently, by the way, so that’s eight moments of I guess the user case hasn’t changed, in so much unamusement for reference. that should you have a driveway and charger - and a car park and charger at the office that These are perhaps trifling issues, and it may be happens to be maximum 15 miles away - then yes, a result of my neanderthal movements rather than structural issues of the car. However, as I said, it’s usability that we are discussing.

Inside the Velar, both on the move and stationary, it is obviously a premium product.

Insulation rivals that of the full fat Range Rover, and there is a silkiness to the ride and a substance to the interior that certainly sets it apart, and above, the Evoque.

Sometimes in the past, especially since the update to the Evoque, I have confused the two in the wild. Once spending more time with the Velar, it became very much its own product in my eyes and I may not have misgendered, sorry, mistaken each from the other after the loan finished.

Specifications ENGINE: 1997cc turbocharged four-cylinder plus e-motor.

0-60: 5.4 seconds HORSE POWER: 398 ELECTRIC RANGE: 33 miles LENGTH/WIDTH/HEIGHT: 1678mm, 1930cm, 4797cm WEIGHT: 2,158 kg GEARBOX: 8 speed

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19. 11. 2022 – 5. 2. 2023

30. 6. – 3. 9. 2023

Jean-Frédéric Schnyder The Otolith Group Patricia L. Boyd

Lazar Lyutakov Delaine Le Bas Chen Chieh-Jen

17. 2. – 16. 4. 2023

15. 9. – 12. 11. 2023

Christine Sun Kim Kresiah Mukwazhi Jordan Strafer

SoiL Thornton Mai Ling Mykola Ridnyi

28. 4. – 18. 6. 2023

1. 12. 2023 – 28. 1. 2024

Vivian Suter Margaret Salmon Karrabing Film Collective

Tishan Hsu Charlotte Prodger Agency of Singular Investigations

Permanent presentation

Gustav Klimt, Beethoven Frieze

secession Friedrichstraße 12, 1010 Vienna www.secession.at

T R AV E L : T H E W O R L D I S L A N D S

The World Islands Words: Sarah Morgan - Global Travel Editor

Dubai is among the most striking architectural examples of the limitless reach of man’s creativity and imagination. Some even claim that this place may be as close as we get to heaven on earth.

The key questions remain: which man, and whose heaven?

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D

ubai is among the most striking architectural examples of the limitless reach of man’s creativity and imagination. Some even claim that this place may be as close as we get to heaven on earth. The key questions remain: which man, and whose heaven?

I would be lying if I said I have ever craved the opportunity to experience Dubai’s delights.

I am, after all, something of a purist and an impassioned enthusiast of Mother Nature’s own creations, rather than those found in any man-made paradise.

However, I finally succumbed to a quick pit stop in order to visit the very first resort to open on the latest Dubai playground: The World Islands.

It took an invitation by one of the greatest global luxury hotel brands, Anantara, to nudge me into agreement.

The World Islands Resort, Dubai is yet another pioneering project from Anantara’s opulent ideas HQ. The idea? To be the first to launch as part of an archipelago of small artificial islands, in the shape of the entire world map, in the waters of the Persian Gulf just off the coast of Dubai.

Created by dredging sand from the Gulf and transporting it to a carefully-selected location, However, I’d also be lying if I claimed to be there are several million tons of rock used to totally impervious to the city’s pervasive pull. underpin the artificial land masses and keep I have occasionally found myself intrigued to them in place. In total, there are 300 individual understand what it feels like to be part of a ‘islands’ in the World Islands, ranging from fabricated idyll; not least one that has so many 250,000 to 900,000 sq ft in size. The entire travellers intoxicated by the glitz and glamour. collection covers some 5.4 miles across, and each island is named after the corresponding Take The Palm, for instance. Now an utterly location on the world map. Visitors, therefore, iconic and emblematic of Dubai’s ferocious and can be welcomed to South America while ambitious expansion, it is a remarkable feat holidaying in the middle of the Persian Gulf. of manufactured ingenuity as well as being a Only in Dubai. marketing masterclass in how to turn a vision into reality. I have witnessed its growth, from Check-in starts effortlessly at the North conception through birth to maturity, and yet Residence of Anantara - The Palm - followed still have never been truly tempted to join the by a luxurious speedboat transfer to the island throng of absolute loyalists. resort. The journey takes just 10 to 15 minutes, leaving Dubai behind you in its frothy wake.

Anantara World Islands offers 70 accommodation options including guest rooms, suites and pool villas. Our one-bedroomed garden pool villa had copious beautifully designed and lofty space, as well as a stunning contemporary bathroom with voluminous shower and elegant elliptical bath. Design is definitely king; every minute detail has been meticulously overseen and engineered to streamline your stay.

The sweet spot for me was the fabulous outdoor space with our own plunge pool, access directly to the beach and spectacular views across to the Dubai skyline. Looking across at the metropolis rather than being in it, for me, was perfect.

There are future plans for 100 additional villas and private residences, homes and weekend pads for Dubai residents. If you are planning a visit, travel before the building work begins again in earnest, and the crowds start flocking in.

As expected, the resort has a plethora of highend amenities including its own private beach, a beautiful central swimming pool, a gym, yoga classes, stand up paddle boats, kayaking, a wide choice of motorised water sports as well as a Thai style Anantara spa for those looking to completely unwind. Whilst the actual spa space lacked a little ambience and stature for the usual Anantara and Dubai standard,

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the Massage Lumi Lumi itself was every bit as relaxing and invigorating as it should be, and the Thai therapists were clearly very well trained.

The island also hosts a stunning central aviary where 800 exotic birds have been shipped in to help create a sensory atmosphere, with bird song helping to breathe life into this often overly-utopian sandscape.

We sipped on a delicious warm cocktail of hibiscus blended with local spices, honey and ginger before we enjoyed an exquisite and authentic Arabian meal with the warm night air billowing gently around us.

Here, however, is where I become a little disorientated. In just one day, I have arrived in Dubai, then landed on an island that calls itself South America, dined on Arabian food and enjoyed a Thai massage whilst listening to peacocks and tropical birds singing.

For dining, there are numerous choices ranging from the light bites of Grand House to a themed South American tapas bar, Luna.

Further options came in the form of the While every element delivered its own version Mediterranean relaxed dining at Helios and the of highly credible authenticity, for me there was authentic Indian and Arabic Qamar. no clear cohesion. Indeed, at times I was left feeling as though I was getting to grips with a Qamar, which means moon in Arabic, offered destination that had a personality disorder. us an extraordinary night wherein we sat under the stars listening to sitars, while gazing across Don’t let me be misunderstood. I think that if at the bright lights of downtown Dubai and the you love the idea of Dubai, the World Islands iconic Burj Khalifa. will not disappoint. The resort is another

awe-inspiring example of man’s ability to create something amazing from nothing. Anantara World Islands is, without much doubt, a pioneer of this creative process, and it is to be saluted for it. Its promise of barefoot luxury is one which I feel assured will be delivered, and its opulent credentials are not to be questioned.

However, I can’t shake the feeling that I arrived in a destination that is still effectively a major work in progress. While all the elements for a wonderful experience are present, I felt that it lacked a little soul and will take some time to uncover its true personality.

Having said that, I feel lucky to have set foot on the very first island that will ultimately create the world map in the Persian Gulf – another extraordinary feat of creation. Anantara World Islands may not be at full throttle yet, but to get a glimpse of the future vision, knowing what can be achieved with a blend of passion and purpose, is a rare treat indeed.

For further information (954) 279-1220 • info@cwjbrands.com

Automatic, bronze, 42mm, hour & minute, date, small seconds corum-watches.com

TECH : REVOLUT

A One Card Future Words: Peter J Robinson - Managing Editor

In the ever-evolving landscape of fintech, Revolut has stood out - at least for me - as the darling of the UK sector since its inception in July 2015.

Founded by Nikolay Storonsky, a former Lehman Brothers trader, and Vlad Yatsenko, an expert in financial systems at Deutsche Bank, both of whom worked together at Credit Suisse (who has, incidentally, just left the Wharf). With CVs and bonafides submitted, in the realm of digital banking alternatives, Revolut continues to democratise the consumer market at pace. 30M, and counting.

Revolut took market share quickly, driven by Storonsky’s frustration with existing foreign exchange offerings. The company offered bank-to-bank rates fee-free and a £5K currency exchange limit per month for their standard customers. This has been reduced to £1000 for their standard free plan, but you can nonetheless see the appeal. Not to mention - what a strong kick-off to their game, right?

Free currency exchange is something we can all back. I have locked in several positive exchange rates weeks in advance of campaigns all over the globe, and exited ‘the position’ positively on return simply and easily.

At its inception, Revolut was a simple prepaid card and app designed to facilitate cost-effective currency exchanges for globetrotters.I haven’t, thankfully, had to call in the Winter sports insurance for a chopper ride off the mountain, but it’s a very slim card to zip into a ski jacket. Sadly, equipment insurance tops out at £1500 which won’t cover my Zai skis - something which is as much Zai’s fault as it is my alpine alter ego. However, 10M medical should cover the chaps from Air

Zermatt if I ever need a real exfil from the middle of a crevasse. That’s for 90 days as well.

Generous, and only really worth having if - like me - you are occasionally in the mountains filming on location till the snow melts. I’m minded to test the Worldwide element of it with a trip to Serbia in winter.

“In a refreshing departure from the conventional high street banking experience, Revolut offers an account sans the burdensome paperwork.”

Since those early days, the company has embarked on a well-funded journey of

continuous expansion, amassing a global customer base and consistently enhancing its suite of financial solutions.

In a refreshing departure from the conventional high street banking experience, Revolut offers an account sans the burdensome paperwork. It’s a swift and hassle-free process, boasting the remarkable ability to open a Sterling or Euro account within a mere 60 seconds, without the need for credit checks or proof of address. You can take things entirely virtual and set up multiple cards in-app using Apple Wallet or Google Pay, or order a physical card if you like to keep things tactile. As is the norm in this market, Revolut offers several plans and the benefits vary depending on the monthly subscription.

We started with the entry-level product to see what you’re essentially getting gratis.

The standard account does indeed take 60 seconds to set up and includes the fee-free currency exchange Monday to Friday, up to £1000 a month. The Metal account, however, has no forex limit and comes with a host of

THE REVIEW 2023 161

benefits across travel and investments. The personalised metal card, interestingly, seems to hold a certain allure when settling the bill.

You can of course inscribe yours in a multitude of pithy ways, and conveniently order it through the platform.

Revolut’s physical card is a versatile tool that allows you to transact in your base currency as well as many others. When you load funds onto the card, you’re presented with two options. Firstly, you can opt to convert your balance into a currency of your choice, locking in the exchange rate. Alternatively, you can maintain your funds as a cash balance in sterling, and whenever you use your card abroad, Revolut applies the exchange rate of that moment and deducts the corresponding amount in sterling. You’re at the mercy of the markets opting for the latter, but plan a few weeks or months ahead and you can build a modest spread portfolio of the currencies you use.

Whilst I have watched the Gold, Silver, Platinum and Palladium markets with interest over the last year, I haven’t yet made the jump into the metal markets. However, I watch with intent. A 1.49% fee is something you’ll have to consider based on your own portfolio and size of trades, and you can also trade crypto with exchange fees of 0.99%. If you’re looking for active stock trading you’ll get ten free trades with the metal plan. The commission fee thereafter is the greater of 0.25% of the order amount (lowered to 0.12% for Ultra customers), or the minimum country-specific fee. That’s right, Ultra. Having been a customer for a year I’m more than happy with Metal, but as always, the need to increase the customer base year on year means the product packages are often up for further curation.

It’s worth mentioning that Revolut supports businesses to the tune of 10K new clients monthly. I haven’t got into the finer details of the offering personally, but the ability to take payments using my iPhone alone and set

spending limits for team accounts appeals.

The item I have used more than any other is the SmartDelay. Free lounge access if your flight is delayed by an hour or more, and sure - bring your three travel companions with you. I have used this countless times during delayed transit but the reduced lounge pass fees are well worth the app alone in my opinion. I believe Ultra offers an entirely free lounge access pass as part of the service. While I quietly grind my teeth at the constant need to level up, I’m well aware that this is just the way of things.

Revolut’s long-term goal is to build the first truly global bank – where consumers worldwide are serviced via the same app operating on a single technology platform. If the PRA gets out of the way, the fintech sector in the UK could continue to burn brightly for the masses.

KEY FEATURES • • • •

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Spending analytics - get weekly insights into your spending with its categorisation features Manage your finances in one place - connect your bank accounts using Open Banking to track all of your money in one place Instant spending notifications - get instant alerts for transactions in and out of your account Manage subscriptions - Organise recurring payments and cancel unwanted subscriptions also, benefit from end-of-trial notifications giving you the opportunity to cancel Save money with Revolut’s Rewards feature - get cashback and rewards with exclusive retailers when spending on your Revolut card Transfer money abroad - send money abroad in over 30 currencies using the Interbank Exchange Rate Fee-free spending abroad - spend abroad without any hidden fees (there’s a 1.00% fee for balances above £1,000 for Revolut Standard plans and a 0.5% fee for Revolut On-demand pay - employers can register interest with Revolut to set up on-demand

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pay which means that employees can access their salary at any point before it is paid at no cost to the emplovee Revolut <18 - Open a Revolut <18 account for a child aged between 6 - 17 years old.

More information on Revolut <18 accounts here Investments - Manage your investments in the Wealth section of the app. Invest in stocks, commodities and cryptocurrency Pet insurance - purchase a Revolut pet insurance policy via the app Stays - Book trips away within the Revolut app and get up to 10% cashback (depending on your Revolut plan) on various accommodations around the world Experiences - Choose from over 300,000 experiences e.g. hot air balloon rides and guided tours within the ‘Hub’ section of the Revolut app.

FOR MORE DETAILS VISIT: REVOLUT.COM THE REVIEW 2023 162

REACH YOUR SUMMIT CONNECTED

ALPINERX SMART OUTDOORS

No Charging Required: 2+ Years Battery Power Temperature + UV Indicator + Barometer + Altitude Connected GPS + Compass + Heart Rate Monitoring 100M/300FT Water-Resistant

STYLE : SCENTS OF FREEDOM

SCENTS OF FREEDOM Words: The Editors

As with any aspect of our wardrobe, the scents we choose to adorn ourselves with shift with the seasons. The colder months may be all about enveloping, decadent and warming fragrances, but the warmer climes of summer call for an altogether brisker, audacious and more adventurous olfactory palette.

Choosing a perfume for time spent outdoors can be a challenge, albeit one that should be revelled in. It’s an opportunity to showcase the more outgoing aspects of your personality, to step some way out of your comfort zone and to radiate a spirit of liberation, curiosity, sophistication and nonchalance in equal measure. From sun-soaked city breaks to balmy evenings on the beach, and from hedonistic festivals to lunch dates and leisurely drives through the countryside, these are the summertime fragrances to elevate each and every moment.

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must admit I’m more than a little taken by the scents released by Jusbox, which are created with the honourable aim of capturing the essence of iconic music scenes in each beautifully crafted bottle. Visionary Eye takes us back to the sweltering summer of Berlin in 1976, when Bowie was torturously crafting his trilogy of groundbreaking Berlin albums in Schöneberg alongside Lou Reed, Iggy Pop and a host of proto-techno pioneers. This scent achieves its aim of encapsulating the spirit of freedom, creativity and vision through the inclusion of precious iris extract coupled with zesty bergamot and absinthe, before giving way to layers of cinnamon, sandalwood and musk. Sensual, daring and addictive, it’s as rewarding as the legendary records it’s inspired by.

Top notes: Bergamot, Wormwood, White Thyme. Heart notes: Cinnamon Ceylon LMR, Lavender, Iris.

Base notes: Sandalwood, Vanilla, Musk

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rooklyn parfumerie pioneers DS&Dur creations that break the mould, steal t Steamed Rainbow, one of the house’s a will to ‘capture the scent of a rainbo and irresistible vibrance. Delicate yet i each colour of the spectrum including violet, almo

Top notes: Red Mandarin, Orange, Yellow Elemi Resin. Hea Base notes: Viole

rga aren’t known for shying away from fragrance the spotlight and border upon the outrageous. s latest unisex releases, is a case in point. Borne of ow’, this scent is an exercise in freshness, colour impactful, it features ingredients which represent ond flower and mandarin.

art notes: Green Cedar, Blue Almond Flower, Indigo Grass. et, Vetyver, Vapours

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arbour’s recent forays into the world of fragrances have been impressively well-received, matching an iconic heritage with the essence of exploration and outdoor pursuits that have always sat at the heart of the brand. Coastal For Him is a triumphant statement of intent for Barbour’s foray into parfumerie; an ode to the rugged British coastline and endless Northumbrian beaches, to clifftops and North Sea adventures, the juxtaposition of bracing waters with golden sand, heathered moors and sunshine. Opening with bright and aquatic citrus before revealing spicy, floral and ambery depths, it’s a gentleman’s fragrance for those seeking to eke out every drop of enjoyment from the British summertime in all its majesty.

Top notes: Citrus, Ginger. Heart notes: Cinnamon, Balsam, Sandalwood.

Base notes: Amber

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enowned for its scented extravagance, the Royal Court of King Louis XV became known as ‘la cour parfumée’, with his royal highness apparently demanding a different fragrance for his apartments every day. He also insisted that the royal fountains streamed aromatic scents, presumably to dampen the odeur. It’s widely known that during much of the 18th century, most people had little to no access to clean water and largely regarded bathing as unhealthy, fearing it would allow all manner of diseases into the skin. Whilst King Louis XIV is claimed to have only taken three baths in his lifetime, the reality is he was heavily invested in the Turkish baths at the Palace of Versailles and was fastidious about his cleanliness.

Launched in 2009, Les Parfums de Marly seeks to renew the splendour and pageantry of the times with the likes of Carlisle, Davy and Pegasus. For those of you who are too young to have studied Greek mythology, don’t google it - you’ll find that historic reference has been replaced with the closest brand name. In a world where some 3000 scents are released to the public each year, it pays to be distinctive. Pegasus absolutely provides distinction in spades. The nose behind the creation is that of renowned perfumer Hamid Merati-Kashani, who opted for an Amber Fouger with unmatched longevity. Pegasus is a heady Fougere scent with distinct masculinity throughout. We look forward to a tour.

Top notes: Heliotrope, Cumin and Bergamot Heart notes: Bitter Almond, Lavender and Jasmine Base notes: Vanilla, Sandalwood and Amber.

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n 2006 Tom Ford launched Black Orchid fr umbrella. It was his first fragrance, and so e not perhaps for the man who reinvented Gu it is today. Ford took Gucci from $230 millio surprise was when Julia Restoin-Roitfeld, th fronted the campaign and pushed it into the stratos

In 2007 Tom Ford for Men was released and was e from the controversy-courting ad campaign. Photo much of its time. Whilst it might not get printed to sell its products? Fuck no. Ford talked a lot about h cyperaceae family known as nagarmotha in India decadent musk that sunk its way into the fibre of m discontinued like all of his early fragrances. That’s Tom. I have an eighth of a bottle left in case a cha

Top notes: Ginger, mandarin orange, lem Heart notes: Tunisian orange blossom, gr Base notes: Amber, virginian patc

rom underneath the sizable Estee Lauder brand exotic flora and truffles was a bold choice… but ucci as the erotically changed red-carpet mainstay on a year to $3 billion, so I’m not sure what the he daughter of the then editrix of French Vogue, sphere.

every bit as flagrantly sexy as you would expect ographed by Terry Richardson, it was very oday, was it the first time a brand used sex to his use of cypriol at the time, a member of the and used in love potions. It was a woody, floral, my suits and never left. The worst part? It’s s right, you’re going to have to hunt for Vintage arm offensive for the ages is needed.

mon leaf oil, basil, bergamot and violet leaf rapefruit blossom, pepper and tobacco leaf chouli, oakmoss, vetiver and cedar.

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f there’s one brand I have as a constant in my Carlton Saint Moritz washbag, it’s L’Occitane.

Call it my French heritage, call it working with the brand on film campaigns - whatever the catalyst, it stands the test of time. The brand’s best selling fragrance was born out of a chance experience by L’Occitane founder, Olivier Baussan. Whilst distilling lavender oil on the river bank, the combined fragrant lavender water began to soak the burning branches in the furnace. The resulting fragrance is an elegant woody fragrance with authentic lavender, blended with nutmeg scent and a peppery burnt wood finish. It’s an elegant fragrance that remains beloved for good reason: it’s utterly timeless. “L’Occitan speaks of the Provence we love, a mysterious region that never stops inventing beauty” - Olivier Baussan

Top Notes: Black pepper, Lavender Heart Notes: Nutmeg, Cinnamon Base Notes: Tonka Bean

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The Eyes

HAVE IT Words: The Editors

Perhaps you’re into bamboo, wood, recycled plastic or biodegradable acetate. One Eco step to righteousness, right? Maybe it’s retro tinted lenses, oversized frames or geometric bliss with all the hexagons, triangles and diamond shapes you can clamp around your boat race.

We’ll tell you this though, the volume of sunglasses per capita is forecast to reach 0.96bn by 2027 and will generate around $24.55bn this year. As a society, we cannot get enough of them. We’ll make no bones about it, we adore sunglasses. Having not had a decent night’s sleep in a decade, is there any better eye cream than a pair of ‘glints’ or ‘glares’?

FA S H I O N : S U N G L A S S E S

VALLON

@vallon_official

ABOVE: FREESTYLE SKI LEGEND WAYNE WONG

HERON MOUNTAIN It’s a strong look and at first, you might be tempted to opt for something less ballsy. Hear us out. The Herons are a statement piece for any collection. That DT safety goggle, steampunk Cruella-esque visual you have in your mind’s eye?

Forget that, for starters - this style is here to stay.

It was an SS18 trend that every fashion house jumped on with glee. But the blinkered shade has been the mountaineer’s go-to since long before you were pairing it with Moncler, Clarissa.

The Herons come with Cat 3 UV protection, are shatterproof and thanks to the Swiss-invented TR90® polyamide are also adjustable. The side shields are a given, of course, for blocking out wind, glare and snow, and feature a detachable centrepiece. We thought these were especially fresh in the dark alpine Green variety.

Inspired by the retro charm of alpine legends, VALLON is a Swiss sunglasses brand that combines vintage flair with modern innovation. Marcus and Richard Franck, the duo behind VALLON, started out as the creators of Old Schoolers; an Instagram account that celebrated the history and style of skiing and mountaineering. It’s a given that vintage fits have a distinctive look, but they often lack the comfort and durability we all demand from today’s gear. That’s why the brothers Franck decided to create VALLON, classic sunglasses with high-performance materials. Whether you’re hitting the slopes, scaling the peaks, or enjoying the sun, VALLON sunglasses hit the sweet spot with lightweight and long-lasting desigs.

HOWLIN The Aviator. It’s timeless, right? Another staple for anyone with even the most modest collection, the rounded aviator design of the Howlin’s has a timeless aesthetic. Once again fitted with their V52® polarised lenses, VALLON maintains their approach to performance optics. Whilst the head strap is a useful inclusion across a lot of their range, it’s the adjustable temple ends that we fanned out over. Containing a metal core, the tips can be turned inward for a more secure and positioned fit. The devil in the detail. The Howlin’ come in Dark and standard Tortoise, Black and Sage. We opted for Sage and whilst we still think the Dark Tortoise may have been the one, the clean lines of the Sage pair are strong and easy to pair with a number of styles.

waylons It doesn’t matter how many pairs of shades slide across the desk, every member of the team ends up debating a different brand favourite. The fact that we all want a pair of Waylons says a lot. We like the Chestnut and Horn colourways but black’s not going out of favour anytime soon. Sure, we’re trying to give you a pretty face… but the Waylons are more than a mountain flex.

The V52® lenses claim to have the highest optical clarity of any other pair of performance sunglasses in the game and to be fair, the right glass is paramount. They’re also impact-resistant and 100% UVA/B protected. Because VALLON is about form and function, the Waylon’s come with a detachable head strap that we’ll be using at Les Voiles de Saint Tropez this season. Perfect.

These lightweight (32g) polarised performers are the right fit for the piste and the plage alike.

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SUNGOD @we_are_sungod

We’ve been into Sungods since Crystal Globe winner and Team GB Big Air phenomenon Katie Ormerod became the first woman to pull a Backside Double Cork 1080. Sungod are known for their high-octane roster of sporting talent. So sure, the Limited Edition Sungod x McLaren F1 Team shades tick all the right boxes. Lando has his own designs, of course - impressive strides for a brand founded in 2013 on Indigogo by Zoe and Ali Watkiss, husband and wife co-founders. That initial crowd cap raise sold 4000 pairs. Today they have over 22 staff spread across the Verbier and Hammersmith stores, and you have to salute that hustle and dedication.

ABOVE: FIS SNOWBOARD WORLD CUP CHAMPION KATIE ORMEROD RIGHT: LANDO NORRIS MCLAREN F1 DRIVER

SIERRAS The Sierras are so popular you can find limited edition drops with Ineos, Katie Ormerod and the McLaren F1 team. Whilst all these options are strong, our preference is a matte tortoise with brown 8KO lenses. You might already be a SunGod brand fan, but it’s their unique durability as well as style that makes them so popular. The ultra-flexible frames flex without snapping and Pop-Lock screwless hinges mean these should stand the test of time… no matter whether you’ve flown to flop or you’re heading up Grands Montets.

RENEGADES Lifetime guarantee, scratch resistance 8KO lenses built from 2mm nylon, and interchangeable, to boot. The Sungod x McLaren F1 Team shades boast a pretty tough USP list to beat. Did we mention they’re also certified carbon neutral?

Having been on set filming McLaren’s F1 team and brand sponsors, we can confidently say these are the most subscribed frames in the team, weighing in at an easily loseable 25 grams.

SunGod are also keen supporters of Protect Our Winters UK, taking action to safeguard our powder days. “The UK’s outdoor community is beautifully diverse, passionate, inspiring, and over 20 million strong - that’s a lot of voices. From the valleys, the woodlands, and the wildlife within; to the lakes, the mountains, and the communities below: climate change is destroying the places we play and the things that we love. If we come together and demand change, we can be hugely influential.”

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Salt Optics @SALTOPTICS

SALT was founded in 2006 by David Rose and Taylor Whisenand - both former Quiksilver surfers - and business partner Ron Smith. Prior to launching SALT, David was the lead designer at Oliver Peoples which as you might expect, gave them quite an edge. Based on the California coast, the brand is heavily influenced by nature; Sea, Air, Land, and their Timeless connection, to expand upon the acronym. SALT, right.

Handmade in Japan by trusted manufacturers using traditional methods, SALT frames feature riveted hinges for easy adjustment and repair the next time you sit on them. It happens. The Japanese acetate used in SALT frames is created from cotton seeds and wood pulp, which allows it to be hypoallergenic and sustainable. Did we mention the 100% Japanese aerospace-grade titanium that also goes into those durable bones? It’s all sounding rather top shelf.

ABOVE: ANT ANTSTED LEFT: RADFORD RS 500

North Sails Nsn Founded in 1957 by American sailor and Olympic Gold Medalist Lowell North, North Sails has continued the aerospace engineers’ legacy by producing generations of patented products and race champions. North Sails Apparel is designed and developed so that their customers can focus on what’s important, sailing the yacht and traversing the waves. SALT. Polarized optical grade Glass & CR-39 lenses optimise details, definition and colour contrast while on the water.

Radford RS-500 The weekend Madmen meets the John Player Special. We want the SALT. X Radford RS-500’s.

Precious. Yes, we’ve regressed into the primordial soup and we wants ‘em. Let’s not mince words, the RS-500s are statement shades. If you’re climbing out of a John Player Special-liveried Radford motors Type 62-2, the statement is that you have “fuck you money”. But nonetheless, ooofff. Strong guys, very strong. Look at all that aerospacegrade Japanese Titanium you desperately want someone to ask about. When you are foot to the floor in whatever mechanised form of warfare, the Polarized optical grade CR-39 lenses should reduce the glare before you need to hit that racing line. We’ll take the John Player Special with Polarized Amber Half Flash, please.

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OLIVER PEOPLES @oliverpeoples

“Paul Allen has mistaken me for this dickhead Marcus Halberstram. It seems logical because Marcus also works at P&P and in fact, does the same exact thing I do and he also has a penchant for Valentino suits and Oliver Peoples glasses.”

This was our first introduction to Oliver Peoples back in 2000, when protagonist Patrick Bateman wore a pair of O’Malley frames in American Psycho. It’s a typical ’50s shape with a trad keyhole nose bridge that was originally inspired by Dodgers baseball team owner, Peter O’Malley.

ABOVE: OLIVER PEOPLES LOVER PATRICK BATEMAN PLAYED BY CHRISTIAN BALE IN AMERICAN PSYCHO (2000)

LEN You could opt for a pair of Gregory Peck’s with their narrow fit and high bridge but we think the Len’s are more our speed in Black and Pewter.

It’s that contrast of the thick and thin with the substantial front and ultra-slim titanium temple.

Oliver People’s have been a leader in the field for a generation and every collection should have a statement pair.

HAND CRAFTED ICONIC EYEWEAR SINCE 1926

TIME : HOROLOGY

Watch out for Summer Words: The Editors

As the mercury crawls its way up the thermometer, the sun leisurely hangs a few more hours each evening over the horizon and sleeves get shorter, the perfect opportunity to switch up your style with a new timepiece presents itself.

Summertime comes each year with the promise of new adventures - it’s a season of hazy days, villa escapes, beach bars and audacious looks. Seeking out the ideal watch to highlight your style, sophistication and commitment to year-round quality and distinction is paramount, whether you’re on the hunt for a seasonal treasure or a timepiece to cherish summer after summer.

As always, we’ve been on the hunt for the most mesmeric new releases, matching meticulous attention to detail with eye-catching allure. Let’s take a closer look at the watches we can’t remove our gaze from this summer.

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BULOVA

Jet Star Limited Edition The ever-alluring Bulova has tapped into its rich heritage to transport us back to 1970s Manhattan, conjuring images of hazy street scenes, smoky clubs and a sense of art-driven opportunity with the latest additions to the Jet Star collection.

Inspired by the brand’s original 70’s timepieces, the new Jet Star models are a rejuvenation, a reimagining and a nod to the glories of yesteryear, all without compromising on the peerless finesse and performance upon which the brand has built its name.

It’s hard not to be seduced by these retro summerinflected watches, which achieve a refined and understated aesthetic coupled with impressive attention to detail. At once vintage and avantgarde, the Bulova Jet Star releases elevate the brand’s Classics range with integrated proprietary movements from Bulova, offering extreme accuracy alongside flawless wrist impact.

Marloe Watch Company GMT - Day

It’s not often enough we get to celebrate contemporary UK watchmaking in these pages, but Marloe Watch Company has been on our radar for some time now as a result of their striking timepieces, crafted for everyday excellence and a distinctly British nonchalance and charm. The GMT Day is a fantastic example of what the house does best, boasting a dial the colour of the pale blue Scottish skies given textural qualities that highlight the features of an angled GMT scale.

Elegant jetstream hands, a Miyota 9075 automatic mechanical movement and 24 jewels enhance the GMT complication, making this timepiece a fantastic option for summertime explorations and business wear alike

Piaget Polo Field

Summertime stylings call for a pop of colour - an opportunity to bring some vibrancy and dynamism into the finer details of your look. Piaget’s Polo Field release, which luxuriates in a deep grassy green supposedly colour-matched with the American East Coast’s finest polo fields, is a classic field watch that exudes no shortage of class and distinction. The rounded octangular dial elevates sporting chic to new heights, the date window at six o’clock takes the eye-catching style even further.

This release from Piaget is - to resurrect a rather stately word - an altogether dashing timepiece; one which recalls Raffles-esque summertime pursuits of equestrianism and seduction. Clean, opulent and yet unusual enough to appeal to a somewhat more rock ‘n’ roll aspect of the luxury timepiece audience, it’s one that’s sure to dazzle through the warmer months and beyond.

Junghans

Meister Chronoscope Blue Dial The Junghans Meister Chronoscope Blue Dial Watch pays tribute to the original Meister collection, dating back to the 1930s and enjoying its prime in the 1950s and 60s. This elegant timepiece boasts both style and technical prowess.

Encased in a 40.7mm gold PVD coated stainless steel case, the watch features a reliable J880.1 self-winding movement with stop function, hour, minute and seconds capabilities.

The glass exhibition caseback is also a notable addition for the obligatory show and tell.

The blue sunray brushed finish on the dial is complimented by a blue alligator strap. As long as I’m not getting tackled to the ground by PETA outside a restaurant, I’m in.

The Junghans Meister Chronoscope Blue Dial Watch elegantly captures the essence of a bygone era while embracing modern craftsmanship. It’s a timepiece that blends its history with contemporary style deftly.

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Dunhill Tank 8 IQ

Dunhill as a brand has been fairly ingrained in my psyche since the early 80s. The sound of a rollagas lighter would snap shut with precision as plumes of cirrus-like smoke would billow and settle across my grandparents front room. Whilst I still cherish my grandmother’s rollagas, truthfully, it’s a particular vintage tank-esque 8 IQ that saw me part with my own money.

Dunhill’s Motorities was established in 1893 and in 1903 they issued a patent for time measuring equipment. The years that followed saw the inception of the inventive “Motoring Watch” - a double-sided chronograph. In the mid-twenties variety of form was all the rage, with the catalogues displaying square, tonneau and cushion-shaped watches for women and men. In a notable collaboration around 1960, JaegerLeCoultre crafted the “Memo-vox” wrist-alarm for Dunhill, symbolising a blend of shared expertise and passion for horological innovation. Seizing the resurgence of mechanical timepieces in the eighties, Dunhill introduced an automatic chronograph, powered by a Zenith movement.

Sadly, whilst you won’t be able to secure a brand new timepiece from Dunhill, I’m sure you’ll relish the chase for your vintage or antique piece as much as I.

Hublot Classic Fusion

A sleek case, created with satin-finished 18ct Yellow Gold, a little nod to the technical detailing within the six H-shaped Titanium screws around the bezel, and a simple rubber strap. It has to be Hublot.

The new Classic Fusion Original Yellow Gold 33mm is a meet-cute of mechanical form and functional delicacy, bringing back the design that shook up the industry in the 1980s, leading the way for a new era of mixed materials in watchmaking.

Frederique Constant Classic World Timer

I don’t often seek timepieces for their real world day to day value. I’m too much of a purist to want to shackle my phone to my wrist, but I have often admired a Worldtimer or two. Once the epitome of inaccessible luxury, it’s one of the most collectible and expensive vintage complications of all time, and often an incredibly pricey proposition.

Master Watchmaker Pim Koeslag launched the Frederique Constant Classics Worldtimer Manufacture in 2012. His focus on usability, practicality, and affordability shaped this timeless piece.

The watch’s heart is the in-house FC-718 mechanical movement, offering a 38-hour power reserve and waterresistance up to 50 metres for stainless steel models or 30 metres for 18K Gold. The movement, visible through the case back, is adorned with traditional Genevan finishes, including perlage and circular Côtes de Genève.

MHD

Daily Driver The MHD Watches Daily Driver is a timepiece that combines elegance and functionality, making it an ideal companion for everyday wear. With a case diameter of 40mm by 12mm and a slim profile, the watch sits comfortably on the wrist without feeling bulky.

The watch sits on a 22m strap that can be easily swapped. It also comes in two different options the DLC Black with its rugged finish really appeal to the explorer and the the reverse panda which has the feel of a 1960’s racing driver think Paul Newman Whether paired with casual attire or formal wear, the watch effortlessly complements any outfit and occasion.

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Chanel J12 Paradoxe

I have yet to find my niche in my taste with watches, but I don’t think I have the eye for fussy details. The Chanel J12 Paradoxe Calibre 12.1 38mm ticks all the right boxes, combining striking elements with an understated design, a black and white split lacquer dial, ceramic case and stainless steel bezel.

You can always trust a fashion house to create a piece that gives form and function; a wearable piece of art. With Chanel specifically, you know that piece will be truly timeless, a piece you will wear year after year regardless of meandering trends. A piece, in short, that will last a lifetime.

ROLEX

Oyster Day-Date 36 Around 15 years ago, I was trawling a vintage stall in Brighton and found a beautiful little women’s Rolex. It was not in working order and had no paperwork. The meagre charge was still too much for my stretched budget in those days, but years on, I still found myself thinking about that mysterious little watch.

When I dream of the Rolex to grace my wrist, I now see The Oyster Perpetual Day-Date in 18ct Everose Gold 36mm. With its striking green aventurine, diamond-set dial, diamond-set bezel and a diamond-set President bracelet in their patented Everose Gold, it’s a more-is-more moment for sure, yet still retains that quiet self-assuredness of heritage.

OPINION : THE GRIPE

The Gripe Parking could be free to all. Arguably, it would be complicated to initiate.

It would also most likely result in a mid-level armed civilian conflict… but ultimately, I think society could greatly benefit. When did it become such a consistent pain in the arse to park in our cities and towns? I’m aware, of course, that this might seem minor to those of you who hurriedly pay parking tickets from private organisations and councils alike, without taking the time to see if you are indeed at fault. And yet, and yet.

Words: Peter J Robinson - Managing Editor

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am not suggesting that there isn’t a need for sensible town planning, but do you remember when parking was free? Do you?

When cars roamed like majestic V8 wildebeests across the city and beyond? OK, there are considerably more cars now, and yes, I grant you there are more people too. But Christ, couldn’t we go back to not having to fuck about paying for parking?

Councils across the UK made over £255 million in penalties during 2021 alone, with authorities issuing the equivalent of 10 tickets every minute. In the same year, 63% of councils increased the number of parking restrictions on UK roads.

One of the most significant impacts of parking charges on the UK’s economy is their burden on small businesses. Retailers, restaurants, and local shops rely heavily on foot traffic for their survival. I don’t need to reference the amount of small businesses that disappeared from our high streets during lockdown, and it’s not as if everything was exactly blossoming on the high street before that, either.

We’re a relatively civilised society if we take the accepted definition, and not the true meaning of the word. Could we not at least try free parking somewhere a test bed, if you will, in a small area near the M25 that no one really

cares about, for instance? Airports as a starter for ten. It’s £5 for ten minutes at Bristol Airport. Bristol’s got a huge piece of tarmac right in front of it; one that could provide a similar experience to that of Kuala Lumpur International Airport with the right engineer.

The French approach is a genuine Kiss and

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MUST NOT park partially or wholly on the pavement in London, and should not do so elsewhere unless signs permit it.” It’s this use of the word ‘must’ that’s key; the advice for those outside the capital is that you ‘should not’ park on the pavement.

More than half of all parking tickets that are appealed get overturned. More than half. So let’s collectively get off our asses, please

Fly. Inspiré. Stansted will charge you £7 for 15 minutes. But London City…well London City is the one. London City understands.

Zero charges for pick up and drop off, and parking so close you can see the only runway it needs.

Heathrow, our national airport, charges £5 for pick up and drop off and has no physical way of paying for it at the airport. Here’s an inappropriate life hack I am yet to witness someone being arrested for on YouTube: Two pieces of black tape, and the ANPR and parking cameras don’t know you from a tractor (although this could lead to a police escort, I imagine). So sure, scan our licence plates, Customs and Border control always have one way or another, but make the parking free. Or at least make it possible to bloody do it there! It’s not the £40 ticket, it’s the principle. Your only options to pay to park at Heathrow are to do it online or by phone, and to be honest, I don’t want to have to plan that fucking thoroughly to drop off or collect a loved one at the airport.

The drivers amongst you already know the preferred method to avoid airport fees, and that’s to drive to your destination - provided it’s via mainland Europe. Not only do you pay per vehicle on LeShuttle but you can get across the Channel for just £240 return for a car loaded with up to 9 passengers. This isn’t going to help the general issue of finding parking in our towns and cities, however. For that, you’ll need to be able to clear the curb with a certain amount of ease. I recommend a Land Rover, but provided you’ve got clearance anything will do. I am not advising that parking on the curb is entirely without reprisal, but it’s a practice lots of us have had to adopt given the state of town and city planning in certain areas.

The rules are pretty clear in London, with parking regulations on pavements enshrined in the Highway Code under rule 244. “You

”

In short, it’s not encouraged. However, you won’t lose your hands for doing so and it’s worth knowing there are some rules to observe. You can’t obstruct traffic, be loaded over 7.5 tonnes, or leave a trailer or the vehicle in a dangerous position. Now, whatever your flavour of legal counsel may be, I should imagine arguing whether a parked position is dangerous, blocking traffic or otherwise is a question for them if the case ever got to court.

That being said, local authorities are very quick to point out where you ‘CAN’T’ park in certain places.

I assure you, you absolutely can park anywhere. They just state you shouldn’t.

Let this one sink in: more than half of all parking tickets that are appealed get overturned. More than half. So let’s collectively get off our asses, please, and ditch the apathy towards paying at minimum £40, at most a CCJ. People have gone years not knowing they have a judgement issued against them until applying for a mortgage or finance, only to find out an unscrupulous parking organisation hasn’t followed the rules. Does a CCJ seem like a fair deterrent to you for parking?

Let me put it this way. Let’s say you’re dining in a nice restaurant. There’s a little girl who is misbehaving. She’s running around, she’s throwing food and causing a din. Her father decides to punish her right there by cracking a wine bottle over her head, throwing her to the ground, and kicking her repeatedly. You sit at the next table. What do you do? Sure, she’s not crippling people financially for the foreseeable future, but is there a crime that girl could commit that would have justified what the father did? In an economy described

by The Bank of England as “sluggish for the next few years”, wouldn’t it be appropriate for councils and parking firms to approach parking a little less avariciously?

So sure, arguing your case properly and or parking on any free piece of public land will need to come with some concessions in the land of “park as you please’. If we’re not having to download another app, (five and counting) or find an old-sized 10p under the seat to park, whomever is on the other side of the fence will want their pound of flesh. Residents parking, for instance, would be allowed to continue operating but with a single permit issued per dwelling for free. If your household absolutely needs two cars or more, use the ‘park as you please’ initiative for your second car, or buy a property with a garage. All council offices and private car parks would also be assessed, and any available parking not uptaken by public sector or low income workers would be allocated for free use.

“What about the real victims?” I hear you cry. Well, traffic wardens and those made immediately redundant by private parking companies would be placed in a rehabilitation program offshore to help them understand how to engage with society at large in a constructive way. They would be taught how to show empathy with their dead eyes and expressionless faces, so as to not be completely detached from the world in which they live.

Perhaps they could be given rewarding jobs in the public sector, seeking out potholes to fill, or rationalising the amount of road signs in the UK to something more resembling that of a sensible society. It was Guy Ritchie that taught a generation to revile traffic wardens even before I could drive, by immortalising the line: “Don’t touch him up! Knock him out!”.

Ultimately, parking charges are implemented with the intention of generating revenue and managing congestion. I argue that the revenue side of the equation gets top billing despite the fact that parking wardens do not have formal targets. The British Parking Association code of practice states “Effective from 2 January 2018, the practice of offering financial incentives relating to the quantity of parking charge notices in new and existing employee contracts is prohibited.” IPC registered operators, however, are advised “You may use incentive schemes to motivate your staff and improve productivity.”

Grey market weapons?

Timber?

Diamonds?

What are we using to incentivise people, if not currency?

Booktokens?

Cuddly toys?

Small businesses, consumers, and local communities all feel the effects of high parking charges, which can lead to reduced economic activity, job losses, and deterred investment. Striking a balance between managing traffic and supporting economic growth should be a priority for policymakers. A thoughtful reconsideration of parking charges is paramount to ensure a more prosperous and sustainable future for the United Kingdom’s economy.

For anyone entirely on the other side of the argument who feels that their parking system works flawlessly and is offended, well, I’m sorry my pros don’t feel like slipping on a tuxedo. At least in my world, you’ll have somewhere to park when you have to go to court to argue your historic CCJ.

The Penthouses One Park Drive

Interior Architecture by Herzog & de Meuron Interiors curated by Tom Dixon/Design Research Studio Penthouses completed and available to buy from £3.95m To explore visit canarywharf.com/residential or call +44 (0)20 7001 3800

INVITATION TO CONSIGN AMERICAN ART To find out more about our upcoming auctions or to inquire about a potential consignment, please visit our department page or reach out to our specialist William Haydock.

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FREDERIC REMINGTON (1861-1909) The Broncho Buster, modeled in 1895; cast in 1906 bronze with brownish-black patina 22 ½ in. (57.2 cm.) high Estimate: $150,000�250,000 Sold for: $399,000 American Art, New York, 20 November 2019

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