Atelier (Issue 01)

A telier Shades of Autumn

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Editorial Note

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he “Collins English Dictionary” defines “lifestyle” as a set of attitudes, habits or possessions associated with a particular person or group. Atelier is a new quarterly magazine which

seeks to elaborate further the definition of lifestyle by observing its role and function from various aspects of life and from the eyes of key local and foreign individuals and entities.

Indeed, Atelier is seen primarily from a microcosmic point of view thus observing the habits of every individual following which is also looked at from a macrocosmic point of view thus the surrounding environment of every individual. For the purpose of this magazine, lifestyle is seen as a natural home for fashion, culture, beauty, health, design,

photography and architecture among others. Each area is seen in its entirety and addressed by its major local and foreign exponents. The first edition will see how the Autumn season impacts on the various shades of lifestyle.

We wish you all a pleasant read and a happy autumn season!

Editor: Omar Vella - delicious@unionprint.com.mt Proof Reading: Ramona Marie Vella Cini Marthese Cauchi

No part of this publication may be reproduced, or transmitted in any form without the prior consent of Union Print Co. Ltd. While we make every effort to make sure that the content of Atelier is correct, we cannot take any responsibility nor be held accountable for any factual errors printed.

Design: Ryan Bezzina - atelier@unionprint.com.mt Front image: Courtesy of Brian Grech - www.briangrech.com Textile courtesy of CamilleriParisMode Photos:

Printing & Publishing: Union Print Co. Ltd,

We thank all contributers for providing photos and images.

A41, Marsa industrial Estate, Marsa, MRS 3000 +356 2590 0200

Advertising:

adverts@unionprint.com.mt - +356 2590 0200

Your genetics load the gun.

Your lifestyle pulls the trigger.

Mehmet OZ

Fashion 12 28

Peter Borg Chalres & Ron

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Francesca Pace Chris Castillo

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Luke Azzopardi

Society 56 62 70

Albert Marshall Giada De Laurentiis Aarรณn Sรกnchez

Beauty 90 94

Giorgio Forgani Diego Dalla Palma

Photography 104 108

Alessio Bolzoni Brian Grech

Design & Architecture 118 123

Davide Oldani Colin Zammit

130 140 148 156

Sabrina Soto Andrea Castrignano Chris Briffa Vera Sant Fournier Photo credit Brian Grech

FA S H I O N

Fashion is part of our culture, and it’s about more than just a pretty dress.

Joan Smalls 10

Photo credit Bortex Fine Tailoring

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Photos credit Bortex Fine Tailoring

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A Brand s

Legacy Atelier meets Peter Borg,

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Chief Executive Officer of Bortex Group.

t is amazing how every corner of our small island holds a piece of Malta’s rich manufacturing history. At the heart of the Marsa Industrial Estate lies Malta’s longest established and most respected name in formal men’s tailoring, Bortex Clothing.

Notwithstanding the various changes the company has been through over the past five decades it still jealously holds on to its tailoring ethos and today proudly displays its very own Gagliardi brand in strategically located retail outlets across Malta and Europe.

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When drafting Atelier, I felt a moral obligation to ask Peter Borg, managing director of Bortex for an interview which he gladly accepted. Whilst walking through the corridor which leads to his office memories came to mind of my time working at Bortex.

Although a decade has passed, I could still vividly recollect those long busy hours preparing collections for the likes of leading international brands such as Reiss, Charles Tyrwhitt, Ted Baker and Hackett. I could also still vividly remember those amazing fabrics which would later be transformed into stunning suits, mix and match options or standalone garments. Above all, I could fondly remember Mr. Borg’s wise words

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of advise in his characteristic calm yet firm voice. He was indeed a captain of a ship which notwithstanding the rough seas his vessel came across, would find the right way to safe harbours. The decor has changed, the colours of walls have changed and people have changed yet the soul of that place has remained intact, still young, vibrant and full of will to impress in Malta and abroad.

With his signature smile he invites me to take a chair where we set the tone with a discussion on our favourite football team. Indeed, we are both hard core supporters of Inter! After a short chat on football

and on my own journey since leaving Bortex, we shift to the interview. It goes without saying that our discussion focuses on the company’s origins. Bortex Clothing carries a legacy that has been carefully crafted over the decades, since Peter Borg’s father, Sunny, opened its doors in 1964.

Peter points out that, “On his return to Malta, my father initially established himself as an importer who introduced on the local market key products including the first flip flops and table soccer. Yet at one point, the government of the time had informed him he would no longer get licences to continue with his jeans importing business which led him to seek new options. Peter adds that “it was at this point when my father set up Bortex to target international export markets. In time a leading Dutch manufacturer, Van Gils, was brought on board as a major partner.” Van Gils eventually moved on, and Sunny Borg brought in a new major foreign name as a major shareholder, Next plc.

We shift our conversation to the challenges the late nineties offered the company. Peter notes that “market forces signalled that the company had to start thinking fast, of moving towards a new model.” Bortex Clothing was investing steadily in state-of-the art equipment in Malta, and in its committed human resources, to bring about increased efficiency and higher productivity, and translate that into healthy unit cost. However, competition from lower unit-cost countries meant that international clients demanded lower supply prices to be countered with a new business model. Peter notes that “the company opted for a hybrid business model consisting of domestic and overseas production to attempt to get a competitive average supply cost. Bortex set up a plant in Tunisia in 1999 to complement the local production. “Soon enough though, even that model did not suffice making it necessary for the company to set up production facilities also in China.”

I ask him to mention a key figure in the Bortex Clothing’s longstanding story which without any hesitation he mentions the late Lino Spiteri. Lino was Chairman of Bortex for many years and a lifelong friend of Peter’s father Sunny. “He was a very special man, a charismatic figure and such a source of inspiration who helped my father and I to take the company to the next level. His words were more precious than gold and he is still dearly missed.”

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The financial crisis of 2007 / 2008 did not spare Bortex and the company was once again called to rethink its commercial leit motif. It was in this context that the Gagliardi brand was born. Peter notes that “the brand could not exist in vacuum.

We had to tell a story and give the brand a clear identity. Initially it was put forward as an Italian brand, yet we soon realised that the secret was to shift its positioning to a more distinctly Mediterranean and Maltese identity. Today, I would fairly say the brand has a clear Maltese identity with a a strong, bold character. This includes a taste of my father’s world especially his fondness for Maltese history and antiques. It is evident in key details present in every Gagliardi store. The props, the furniture and components of the decor all shout the same message.

The Maltese element is also present in our marketing and above all, it is also present in our new logo.”

I ask him to define the ethos of the Gagliardi brand. His eyes glow; “It is a combination of things.

It starts with the product, the fine Italian fabrics, top quality linings and interlinings, high standards of sewing and pressing, well cut patterns and of course the passion required to create a collection of garments every season, in the correct colour palette. Above all it tells the story of a family. The combination of all these factors makes the brand a winning proposition. He also points out that the brand’s development required substantial investment on R&D. “We studied other brands, we observed their behaviour and their development. We also studied their origins. I was very attracted to the Ralph Lauren brand. Its roots are embedded in a family context which ensures the brand has a soul and will endure.”

We shift our conversation on the operational side of the business A retail division was set up and the ‘Gagliardi’ brand launched, first on the local market and within months on the international marketplace too. On the local market the retail operation takes a multi-brand format which not only offers Gagliardi

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products but also proposes third-party branded products, including Ralph Lauren – with whom the group has exclusive representation on the local market – Lanificio Flli Cerruti, Loro Piana, Lanificio Ermenegildo Zegna, Lacoste and Gant.

Gagliardi now has more than 50 international doors with stores in eight countries, where it stands proudly next to some of the top brands in the industry. The brand is also present online. Peter notes that “ Online the whole world is our market.

The brand’s e-commerce platform, based in Malta, is registering significant growth annually and ships products worldwide from its warehousing facilities, which are also locally based.” He also proudly notes that, “our strongest market online is the U.S.” Our conversation inevitably touches on the autumn season. He promptly notes that “we are already working on Autumn/Winter 19. In this process we keep our ear to the ground and ensure we have a good pulse of where fashion is heading. It is about mainstream but not in a boring way. Taste and appetite are influenced by many factors. We need to read, listen, anticipate and preempt.

It is time for me to conclude my interview yet before calling it a day I felt the need to ask him a final question regarding the future. “Our goal is to continue to grow the brand. It is still relatively young and its best is yet to come. Our plan is to open 3 to 4 Gagliardi stores every year. A pace that we can control.” He also points out that “Sam, my eldest son is the next generation who is also deeply involved with the business and is gradually being groomed to assume leadership in the years to come.”

Leaving Peter’s office, I feel a sense of nostalgia yet also a sense of pride for being part of this company’s history. It is indeed an honour to travel abroad and pass by a brand which connects our origins, our talent and above all the foresight of local entrepreneurs.

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SARTORIAL SPLENDOUR Maltese photographer Kris Micallef joins forces with fashion powerhouse SARTO, showcasing timeless pieces from the ‘Fashion Devotion’ collection by Dolce & Gabbana

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ou are likely to be familiar with both Kris Micallef, and Sarto. The retail powerhouse pioneered Malta’s luxury segment when it opened the doors of its flagship store in 2012, and has gone on to represent the likes of Burberry, Valentino, DSquared2, Saint Laurent, Alberta Ferretti, Moncler, Ermenegildo Zegna, Stella McCartney and Dolce & Gabbana. The launch of each brand helped fill the void that was, understandably causing quite a stir among Malta’s fashion-conscious and its style seeking community. In a recent television interview, Sarto’s Managing Director Michelle Farrugia remarked that convincing these iconic brands of Malta’s market readiness was no mean feat. Hardly surprising given that luxury was a largely unknown concept when Sarto launched to an unsuspecting public some six years ago. These are however times of change, and society’s ever-evolving taste and overall desire for better quality, better design, and better aesthetics have turned Sarto into a house-hold name, and rendered its story a success.

The prolific Kris Micallef is widely celebrated as one of the nation’s most talented photographers and visual artists, with a portfolio that covers both fine art and commercial projects. A quick swipe through his Instagram page @krismicallefphoto bears testimony to his unfaltering fascination with beauty and the human form. His quest to translate innate beauty through the power of his lens, has lent

CREDITS Photography Fashion Styling Models Make Up

Kris Micallef Dolce & Gabbana at SARTO Marc Felice at SARTO Lana Jelezova, Cristian Cauteruccio Jennifer Dimech

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itself to many a global fashion magazine spread and creative project. Having been enlisted to work on two of Sarto’s most recent and arguably successful commercial campaigns, the two names have become somewhat linked of late. Those frequenting the Maltese islands over the last year would be challenged to have missed the striking images of Misa Patinszki and Corina Corduneanu which adorned many a bus shelter and billboard. Both models are international sensations and Dolce & Gabbana regulars, and the message was clear: Malta has come of age, the game was changing and our historical monuments, culture and being was put at the heart of the style narrative and celebrated in a fitting manner. The story was evolved most recently through smouldering classic beauty of Anja Zvicer and Malta’s very own heartthrob David Camenzuli, who marked his

return to Malta’s fashion circuit after several years abroad walking the world-class runways.

Atelier is pleased to reveal this latest collaboration, in which Micallef returns with the first from a series of monochrome portraits, showcasing timeless pieces from the “Fashion Devotion” collection by Dolce & Gabbana. These Fall 2018 looks were especially selected by Sarto to match the creative vision of Micallef, and his tireless quest for beauty and seamless delivery. The result is a vintage rendezvous which features hints of androgyny, and yet succeeds in depicting the clear masculinity and femininity exuded by models Cristian Cauteruccio and Lana Jelezova. The structured lines and bold motifs presented in the revered Italian fashion duo’s works of wearable art, as always, take centre-stage.

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Beauty lies in detail Interview with Charles Borg and Ron van Maarschalkerweerd, Owners of Charles&Ron

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harles and Ron are synonymous to flair, quality and geniality combined with a strong dose of Mediterranean flavour. Their collections constantly spell out the message to expect the unexpected. Charles and Ron have been at the forefront of Maltese local fashion design for a number of years and have now also earned a strong reputation on the international plane. Their work has evolved over the years yet has kept loyal to the local imprint which is spelt out in the detail of their collections.

Charles and Ron took us through the key milestones in their career and have shared with us their views on the local and international fashion industry. They also gave us a sneak into their upcoming collection to be displayed during the NY Fashion Week.

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What sparked your interest in fashion?

We met in Amsterdam way back in 1992, and after travelling back and forth for a couple of months Ron decided to permanently move to Malta. Charles had been sewing clothes from a very young age and I encouraged him to take it up as a profession and this was how our career in the fashion industry started. We grew into it gradually and made sure to constantly learn and improve our skills. After a while we came across the opportunity to work on a collection together with a close friend of ours, Joseph Fountain. Thanks to him, we had the opportunity to launch our first ever show. Indeed, the event was the spark that triggered us to design and exhibit two yearly collections initially under the “Beatrix” brand.

The “Beatrix” label was eventually developed into “Beatrix by Charles & Ron” and later into “Charles & Ron”.

How has your work evolved since you developed your own brand?

The “Charles & Ron” style has evolved over the years influenced primarily by our own taste and our surroundings. The brand’s Mediterranean setup influences the way we view life, style and fashion.

We strongly believe that the process of growth has always been very organic. We always took small steps at a time, and worked very hard to achieve our goals.

We are very proud of our flagship store which we opened in Republic Street Valletta at the end of 2015 and also of our boutique inside the Corinthia Palace Hotel & Spa in Attard. Every new venture brings new challenges and responsibilities, yet are constantly encouraged by the fact that what we create is so well received by our clients.

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Describe the type of woman who would wear Charles&Ron? In the past year we’ve had the pleasure to dress many international celebrities and this is very gratifying for a designer, however we take pride in designing for all kinds of women. The “Charles & Ron” prototype woman is bold, fond of statement pieces yet with a feminine silhouette and is never afraid to stand out of the crowd.

What are your views about the local fashion industry?

The scene has evolved significantly and it is great to see new designers starting their own business. We are happy to know that we have been of inspiration to many local designers to venture in the fashion industry and to believe in the opportunities that lie beyond local shores.

A telier

Is there enough appreciation by the market towards local fashion designers?

We have always worked hard to encourage people to believe in local talent and to support the Maltese creative sector. There is still a long way to go and it is important that we persist in our mission and keep on educating the market by showing them that it is cool to buy from a local designer. We constantly send the message to the local market that by appreciating local work, you are supporting your own economy and you will purchase something that is most likely far more original than any mass produced item.

How does Autumn fit into your work?

Although we are very much a Mediterranan brand and more associated with hot weather, we love the autumn season too. As for us it’s a great season to work with layers and more winter like fabrics.

What should we expect from Charles & Ron for Fall/Winter 2018-2019?

After our couture dress being exhibited at Buckingham Palace early in 2018 we kept loyal to the Palace theme for our Fall/Winter 2018/19 collection and explored the rich and opulent treasures of the Maltese Islands and drew inspiration from one of their favourite places; Palazzo Parisio. The colour palette for this season was inspired by the palace rooms and gardens.The Palazzo inspired ready to wear collection of clothes and accessories is now available at our shops and soon online too.

What’s next for Charles & Ron? We just returned from NY where we displayed our new SS19 collection and we will soon open a new shop at Minus3 The Point shopping mall in Sliema.

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Photos credit Getty Photographer: Arun Nevander Fall/Winter 18/19 Collection Los Angeles Fashion Week.

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Photos credit Luiza Loana Cimpean Hair - He & She Hair Salon

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The Story Behind the Clothes Interview with Francesca Pace, Owner of Gaia & Nina

W What’s in a name?

That which we call a rose By any other name would smell as sweet.

Romeo & Juliet (II, ii, 1-2)

e live in what many have defined to be a brand society where names constantly come to us in different ways and forms and often determine our choice of shirt, car, mobile phone or appliance. Our daily agenda is jam packed with chores which limit our time to stop and think about our routine decisions.

Our choices are often determined by impact thus what attracts us in those few seconds of a TV advert, a billboard or social media.

This decision process gives us less time to dedicate to the story that lies beneath every brand we come across. Despite having a very busy agenda, I have often refused to look at brands in a superficial way and I am constantly trying to discover the story behind the name that any particular brand is willing to share. During one of my wife’s routine online shopping ventures, she came across a brand which quickly piqued her curiosity and enthusiastically insisted on sharing it with me.

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Gaia & Nina is in some way different to other kids’ brands. It is the story of two girls who embark on a journey across the wonderful world of fabrics. As the name will anticipate, it is an exclusively girls’ clothing brand which celebrates the joy of childhood. It captivates you the very moment you come across it with its fresh, stylish and colourful character. Moreover, every garment has a lace insert which gives it a Maltese flavour. Each image is engaging and tells a little bit of the brand through the themes, colours and features selected. The detail in every photo is amazing and every item irrespective whether it is an old Maltese door, a letter box or a simple straw hat has a role to play. Above all, every image conveys that element of timeless clothing for young girls and seeks to bring back the heritage of traditional children’s wear.

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I met Francesca Pace, Founder and Creative Director at Gaia & Nina Clothing Brand over a coffee to learn more about the story that lies behind the brand. She is smart, good looking, fashion-forward and dressed in a unique selection of colours which tend to happily coexist together. In essence, she reflects the essence of her collections. Little did I know though, that behind that colourful crust lies a story that would leave me speechless.

Francesca told me, “I had a great job which gave me so much satisfaction. I worked in a fast-paced environment with teams of people relying on me for important decision-making at any time of the day (and often well into the evening!). I really could not ask for more. Work was my habitat from a very young age and I could never imagine life without

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work. I actually worked right up to the date I was due to give birth to Gaia. Right after the birth, I was at home feeling lost, lonely and confused. I was disoriented. From a tough and demanding working environment I found myself living from feed to nappy change to trying to remember nursery rhymes and surviving sleepless nights. I felt I had given up my identity as an independent woman so I couldn’t wait to get back to work.” She clarifies that she has so much respect for mums that decide to quit work and stay at home as it’s really tough. As once noted by the famous American fashion designer and entrepreneur, Kate Spade, “No one realises how hard parenthood is. I am not saying going into the office is easy. It’s not. But parenthood, as fun as it is, is not for the fainthearted.’

“After the birth of my second daughter I realised it was impossible for me to juggle two babies and the ultra-demanding full time job I had which led me to consciously step back for a while.” She admits, it was not an easy decision and the feeling of being at home watching baby TV shows and kids programmes was not something she could get used to, so to keep sane and to get motherly support from others in her situation she decided to start an Instagram account about kids fashion and the adventures of new motherhood and that was the birth of Gaia and Nina Blog. After some time at home with the kids she began to question what direction her life was going to take when like a shot from the blue she was given news which would determine her course of action. Francesca had a cancer scare. Her eyes glow and with a broken voice notes, “It developed into an extremely serious matter. It was tough. The news was followed by a crescendo of events. It was a time that involved many operations, checkups yet without any clear answers.

It was a time of fear, doubts and unanswered questions on my future. I could not plan ahead and for a couple of years every day looked like a lifetime.” She found refuge in Instagram. “I found myself photographing the girls and creating flat lays of the girls’ clothes and new outfits and posted these

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on Instagram. Instagram developed into a photo diary for my children to refer to in the future. I wanted us to have a source of memories of what we got up to on a daily basis.” Yet, Francesca notes that the Instagram project also had a survival element. “It was an escape, a distraction from what was going on in my life. It let me get creative and find something to be enthusiastic about. It totally absorbed me and kept me from dwelling on negative thoughts.”

Unexpectedly though, Instagram offered a few surprises. She notes, “I quickly realised that a community existed out there of other mums keen to share experiences of motherhood and everything that comes with it.” Her project had quickly developed into a platform for other mothers to voice and share their very own stories. Moreover, her images gained an immediate following and genuine daily interaction. In no time at all she built up quite a strong following internationally. Francesca points out, “this led to me being asked to promote clothing ranges and new children’s fashion labels. Brands

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loved my images and contacted me. I spend a lot of time when at home and travelling, thinking about backgrounds and colours for my photographs. Any visitors to my blog will see a large range of children’s clothes suitable for all occasions and seasons, brought to my feed from all over the world.”

I ask her what breath of fresh air does Gaia & Nina offer to the market to which she promptly notes, “I spotted a gap in the market for local, high-quality children’s clothing with a traditional and timeless design. I wanted to create something different. My goal was to develop a girls’ brand which reflects what childhood should be. Indeed, my collections spell out colour combined with a pinch of fun, a spoonful of freshness and a good dose of unpredictability. The brand seeks to ensure that children look like children.” She adds “I wanted to create something pure, genuine and full of life, just like my girls, that would allow me dress them with love while expressing their individuality. It is incredibly important to me what fabrics I put on my children and that the clothes are breathable and comfortable.” Francesca points out that all clothes are made from the finest, softest fabrics, made of pure natural fibres, hand sewn at a boutique atelier

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A telier by talented hands who put their care and expertise on each piece, to ensure that kids can play and move freely in them. “I started lessons in both design and fabrics by the multi-talented Maltese designer Carla Grima who took me under her wing and selflessly taught me the tools I needed to turn Gaia & Nina into a high-quality clothing brand. Her help was immeasurable.”

When it came to naming the items, Francesca focused on Malta and the Mediterranean, and her travel inspirations. Malta is a big inspiration for her. “I included an element of lace reminiscent of Maltese lace.” Above all though, her collections insist on the principle that ‘clothes are timeless’. “I wanted to create something that in the future, my daughters may hand down to their daughters.” She insists to note that “I design all the clothing, I sketch out designs, pick the fabrics, play with lace and colour combinations and discuss options with the atelier.

It’s a time consuming process so when people buy a Gaia & Nina item, they buy into a story that has been created with love.”

It is clear that colour plays a key role in her design which encourages me to ask her what colours mean to her. Her bright blue eyes glow and after a short pause, she notes that “colours make people happy.” She loves exploring colour combinations.

“My collections do not include just one-colour items, but many reversible clothes and various colour combinations. Yellow is paired up with terracotta and aubergine with coral.” To my surprise though she notes that ironically her favourite colour is white!

I ask what are her views on local taste in kids’ fashion to which she points out that Maltese people have always been brand conscious, and feels that we are increasingly becoming more aware of the quality of the fabric that we put on our kids. She believes that many people are still inevitably drawn towards disposable fashion - buying an outfit just for a specific occasion and not wearing it again. However the Maltese fashion industry is changing. “Since I

started this brand I realised that Maltese people are really supportive of Maltese designers and would rather buy local if a good quality option is available.”

I ask Francesca what encouraged her to use social media as her main selling platform. She stops for a while and after a brief pause of reflection notes, “It is ironic that despite being busy juggling endless daily chores we find so much time to browse through social media platforms. Social media has developed into our daily companion, our window to the outside world and our short break from our duties. It is by no coincidence that I felt social media offered the best platform for my work.” She adds, “Indeed, the response was exceptional and has proven me right!”

Inevitably we discuss how her husband, Sharlon features in this scenario. She smiles and quickly points out, “He is such an incredible businessman.

Numbers work out logically in his mind and he does not get easily stressed. He is a great reference for the logistics side of the business whereas I am more at ease with the creative and marketing side. So we often pick each other’s brains and help each other out.”

It is time for me to conclude my interview yet feel I cannot call it a day before I ask Francesca a final question about the future. With a smile she notes, “The past three years were a rollercoaster where I have learnt to appreciate the simple things life has to offer - good health, a loving family and a glass of red wine with friends. It’s been nearly a year since I received my positive health results. Since then I was able to look to the future with confidence and determination to create something meaningful for my girls. I look forward to enjoying my family and to expanding further the Gaia & Nina brand. I’d love to develop the concept to mummy and me, keeping to the feminine side. Among the countries that my brand has reached are Australia, USA, Canada, UK, New Zealand and Italy and I would like it to spread even further.” In conclusion she adds “this brand is my legacy to Gaia and Nina.”

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Bejewelled A Word with Luis Azzopardi, Victor Azzopardi Jewellers

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here is a special bond which ties Malta’s jewellery industry and Victor Azzopardi Jewellers. The family’s longstanding tradition in the sector and its reputation for high quality brands and custom made products have earned Victor Azzopardi Jewellers a reputation over the past decades as one of the major exponents of the local jewellery industry. Notwithstanding the constant challenges the market offers, the Azzopardi family continues to shine offering the local market unique brands and pieces which makes the place a girl’s best friend. Luis Azzopardi shared with us his family’s traditions in the industry, what makes them stand.

What legacy does the Azzopardi family carry?

The Azzopardi family is synonymous with silverware and jewellery. Notwithstanding the various families that go by such surname in the sector, Victor Azzopardi jewellers stand out of the crowd in view of our longstanding tradition in the industry that dates back to 1898, our high quality brands and our highly professional support to our clients which we have been providing for the past five generations.

How has the world of jewellery changed over the past years?

The recent developments in the industry have led to a finer and more elaborate final product. Whilst a few decades ago jewellery was mainly characterised by based on yellow gold and with a heavier

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workmanship imprint, today we note more shades of gold and more refined designs. Indeed, today, jewellery is much more based on white gold and even rose gold.

Moreover, jewellery is manufactured with unique glimmer and style which instantly captures a woman’s eye and heart. Special polishing and gold faceting techniques are just a few details that enhance today’s jewellery which perfectly complement the various types of gems used. Jewellery is today not a one fit all element but rather a dynamic product which seeks to reflect a client’s character and unique personality.

Are diamonds still a girl’s best friend?

Everyone loves good quality diamonds. Diamonds today are even more than just a girl’s best friend as they are a woman’s treasure and a man’s investment.

Photo credit Alan Saliba

Erika Christiansen once commented, “I think part of the beauty of our relationship with jewellery is that it can change and evolve as we do ourselves.” To what extent do you agree?

Jewellery adds style, character and accentuates a woman’s beauty over the years making her look always more smart and attractive.

What makes you stand out of the crowd?

It all boils down to our quality Brands, the craftsmanship we invest in every tailor made piece and our attention to detail we dedicate to our esteemed clients whilst purchasing silverware or jewellery.

In what way has the new Azzopardi generation evolving the brand?

It was and will hopefully remain our family tradition to constantly evolve in the jewellery and silverware sector by representing leading international brands and unique jewellery pieces. Our ultimate goal remains to always satisfy a client’s expectations and requirements by providing the best possible selection and advice.

What should we expect from the world of jewellery in the coming months?

The demand for jewellery on the international plane has experienced a drop over the past years due to the economic crisis that hit hard on all corners of the planet yet now it seems that the situation is improving and the overall apetite for jewellery is once again getting stronger.

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A Craftsman’s Pride Atelier observes the impressive work of Chris Castillo

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he concept of jewellery takes a different dimension in Chris Castillo’s workshop. His work is bold, fresh, compelling and brings together a series of modern concepts which are rigorously disciplined by mathematical and engineering principles. Employing algorithmic tools and complex diagramming techniques, Chris is able to design and fabricate jewellery aesthetically reminiscent of 3D graphs, geometric models, and avant-garde sculptures. The final desserts are interpretations of jaw dropping concepts that might look more at home inside an art gallery than in any retail showcase.

Irrespective of the jewellery’s theme, each of Chris’s creations emphasize his desire to “make something interesting and innovative.”

Craftsmanship names an enduring, basic human impulse, the desire to do a job well for its own sake.

- Richard Sennett

Photo credit Sean Mallia

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Photo credit Carlton Agius, Make up - Jennifer Dimech Model - Julia Darmanin @models m

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A telier It is often said not to judge a book by the cover. The first impact with Chris can be misleading. Behind the outer crust of a gentle and quiet person, lies a strong, focused and very determined person with such a colourful mind packed with concepts that blow your mind. His philosophy is so avant grade and his work is a statement.

He mastered in digital arts at the University of Malta, then proceeded to England to follow a three-year course in product design. Silver smithing was a part of the course and, while at the University for the Creative Arts in Rochester, together with a fellow Maltese student, he excelled in this line.

Their lecturers encouraged them to take part in leading competitions in the UK and internationally.

The praise and awards they won were ongoing, and they even placed first and second in a number of top competitions. In one competition which attracted 800 entrants, they were even commended for their design.

After graduating Castillo worked in the UK for a year with a top jeweller and then returned to Malta. His friend stayed on but their close collaboration is still alive and the designs inspired by the Mosta dome, aptly called the Holy Collection, were a combined initiative.

Castillo believes Malta has so much heritage that if you look hard enough you are swamped by it – all you have to do is study the old and give it a new twist.

There is art everywhere and all art can be interpreted and re-interpreted to make things shine, and feel regenerated. Castillo blends his jewellery craft and what inspires him into contemporary design. His friend still prefers using traditional instruments, using only manual aids. On the other hand, Castillo does it all virtually using computer-aided programs for all his designs. Together, these Maltese craftsmen have gone where few dared to go and the result is mind-blowing.

The work behind his current collections is painstaking and slow. Indeed, it took them over two years

before coming out with what they branded, the Holy Collection. Castillo spends a lot of time on the renderings for every collection which are timeconsuming and costly, making sure they are of the best quality possible. There is also the choice of material, the oxidisation, the work to make sure all is done just right. But time, energy and all necessary monetary investments will all serve their purpose as long as every product developed ensures a high level of quality. In his own words, he will be ‘a slave to quality’. Castillo knows he can go down easier paths by commercialising his wares and selling less exclusive stuff yet he refutes to see his product fade into the crowd; he wants his collections to stand out of the crowd.

His vision is all about quality and he wants his collection to be works of art – all have the hallmark of artistry already but he wants to go on designing, to be inspired by what Malta has in abundance everywhere you look. Moreover, his goal is to create something which is long-lasting.

Castillo is indeed one of the young talents to keep an eye on in the years to come. His talent can only grow thanks to his amazing work produced over the past years. He is a ray of light for the artisanal industry and a guideline as to how this endangered industry still has scope to exist. It is just a matter of revisiting, renewing and innovating.

Looking at ways of turning old crafts into a new modern idiom is definitely a step in the right direction for artists and craftsmen in Malta. Our size might be small, but our creativity can be kick-started to cause a few ripples even in something as hard to penetrate as jewellery design. Once the right path is chosen our size and our small market will also be surmounted.

Castillo has managed to break into a rather unusual line and his design is unique and refreshing. In the past, Maltese silversmiths were very well known and respected internationally. Castillo’s designs seem like sure bets to make a hit in jewellery circles in the near future.

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Photo credit Kris Micallef

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A Touch of Geniality Interview with Luke Azzopardi, Fashion Designer

T Photo credit Marija Grech

here is something in the work of Luke Azzopardi which makes it stand out of the crowd. His personality-rich clothing isn’t for those who want to go unnoticed.

Every piece is a statement which pushes boundaries and encompasses that sense of boldness, glamour, luxury and audacity.

Above all, his designs are inspired by his academic background in fine art with a special attention to the Baroque era. Luke Azzopardi is indeed today regarded as one of the most respected names on the local fashion circuit. We recently met Luke who shared with us what attracted him to fashion design, what are his sources of inspiration and his plans for the future.

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Photo credit Kris Micallef

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A telier

What attracted you to the world of fashion design?

I was always interested in art, installation and sculpture; and therefore kinetic art pieces were of particular interest to me. Fashion has offered me the possibility to produce such artwork, in a context of well curated installation.

Your love affair with fabrics owes its origins to the CamilleriParisMode store in Valletta (which has since closed). Can you elaborate?

Indeed. Ten years ago I walked into the Camilleri Paris Mode outlet in Valletta where I came across Victor Camilleri with whom I developed a close working relationship and who has influenced my own design processes. Since then the Valletta store has closed and the fabric vault has now moved to Rabat - which is where I am most of the time drawing up references and researching and designing.

Describe your creative process.

I always work on collections that are very contextderived and site specific. Thus, my initial work process is a study on the place the collection will be installed at. After that, it is a process of trying to uncover visual links and aesthetic resonances between my sources. Through that, a new set of visuals are born which then define each collection.

It is therefore a process in which research plays a fundamental role.

In a recent interview, you stressed on the idea of merging clothing with drama in your work. Can you tell us more about this combination in your work?

My academic background is in itself theatrical and it is by no coincidence that my studio has been involved in several works for the industry. Indeed, we have been involved in the design of theatrical

productions such as ŻfinMalta. I strongly believe that Maltese couture is very theatrical and lends itself very well to the extravagant and decadent world of theatre.

Is there any particular fashion designer you look up to?

I am particularly interested in the works that John Galliano produced during his years as Creative Director at Dios.

Critics are impressed on how you manage to ‘make fashion inspired by costumes.” To what extent do you agree?

More than that, I sometimes create costumes and present it as couture, and it is that interchangeability that interests me. I am very much invested in trying to understand at which point does a garment stop being an item of fashion and becomes a costume; and vice versa. I’m similarly interested in how temporary fads might contribute to this.

In what way does Autumn affect your mood and creative mind?

I’m more interested in transeasonal fashion especially for a place like Malta where there is no real winter.

Any projects in the pipeline?

We are currently working on a new collection which will once again be site-specific. In this case we are working with what happens on stage once the curtains are drawn. We are exploring the sense of in-betweenness or liminality and presenting the pieces as works in progress. My keen interest in art and costume history keeps on feeding my work and this is very evident in my pattern cutting and choice of fabrics which always carries a sense of historicism.

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Photo credit Kris Micallef

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A telier

I always work on collections that are very contextderived and site specific. Thus, my initial work process is a study on the place the collection will be installed at.

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S ociety

Art, freedom and creativity will change society faster than politics.

Victor Pinchuk

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Photo credit Brian Grech

Culture makes people understand each other better. And if they understand each other better in their soul, it is easier to overcome the economic and political barriers. But first they have to understand that their neighbour is, in the end, just like them, with the same problems, the same questions. Paulo Coelho

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the root of Our Culture Interview with Albert Marshall, Executive Chairman of Arts Council Malta

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Photos credits Alan Saliba

he process of globalisation has taken its toll with a steadfast pace transforming our planet into such a smaller place. Every corner of the planet is easily accessible from our office or even from our mobile phone.

And in this process, culture has also been inevitably affected. Indeed, today, the world is experiencing what George Ritzer has defined the ‘Macdonaldization of Society’ thus a worldwide homogenization of cultures due to globalization.

The movement of persons from one continent to another has further strengthened the concept of one culture. Indeed, we may taste some good paella in the busy streets of London whilst, on the other hand, we can appreciate the sweet melody of a Peruvian zampoña in the heart of Rome.

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Despite the constant developments our world experiences, culture survives and remains relevant more than ever as it is not restricted by political boundaries and is not conditioned by time. Cultures evolve and adapt themselves to their surroundings yet remain relevant in every society. Above all, as well noted by Margaret Mead, “there is no hierarchy of values by which one culture has the right to insist on its own values and deny those of another.”

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Nevertheless, culture continues to be at the heart of global debates to which Malta is no exception. At the centre of the North and South divide of the Mediterranean basin boasting an extremely rich culture, entwined with its eclectic history, the cultural debate is relevant more than ever.

This discussion is of further importance in the light of Valletta’s role as European Capital of Culture. I had the opportunity to discuss the concept of culture with

A telier one of Malta’s leading cultural ambassadors, Albert Marshall, who is currently the Executive Chairman of Arts Council Malta.

With his signature smile, he invites me to take a seat and after a quick coffee we delve into our discussion. I start off with asking Albert what does he understand with the term ‘culture’. He points out that although a truism, his immediate response has to be that there is no straight or finite answer to such term. Culture is not like mathematics and it does not provide us with solutions and differs according to our personal experiences and our surroundings. He notes “from a personal point of view, for example, my definition of culture is influenced by hybrid Maltese-Australian identity, by the amount of sensitivity I have to the multicultural environment I live in, the people I interact with my value—system, my sexual orientation, the food I eat…” Arts and culture are all the things that bind us together – and separate us, too – as human beings.

Arts and culture give us a better understanding of the world, of society, as well as our role in it. Arts and culture have been marginalised and turned into something that are ‘nice to have’ while they are actually ‘a need to have’ for the very foundation of our existence He remarks that, irrespective of what direction culture takes, it is important to ensure that a set of cultural pretexts will continue to be celebrated.

The rejection of such pretexts would mean we have dragged humanity to its basic denominator. His argument evokes a famous statement by Marcus Garvey who once commented, “people without the knowledge of their past history, origin and culture is like a tree without roots.” “In this context,” Albert stressed “it is important to make a fleeting comment about the hackneyed perennial discussion about ‘low’ and ‘high’ culture. This interest is the separation between ‘culture’ and ‘entertainment’ used to serve as a beacon to distinguish between popular and ‘high’ culture. Not anymore! I feel that arguments suggesting that the ephemeral quality of the popular arts as against the ‘permanence’ of high art, and that

popular arts are not attempts to be durable creations capable of withstanding the flux of time but to be expendable amd momentary – an artistic experience rather than art - barely hold ground anymore in the current and future cultural milieu. New technology, globalisation and the new media have radically, I feel, razed the cultural divide to ground zero.”

His extensive experience in the field induces me to ask him in what way has the arts and culture industry developed over the past decades. He promptly points out; two strands of development: the artistic quality strand and the financial aspect of their development. During the past 50 years there has been a quantum leap in the quality level of our artistic output – quality across the board conceptual, technical, social relevance and thematic breath. The financial aspect is the other major difference we may note over the past decades. Public funding has not only enabled previously inexistent structures to be created and others to be strengthened. It has also provided impetus to a generation of artists. It has facilitated employment opportunities and generated process of professionalization in the arts. He notes “My wife and I have been in the arts and the culture industry for the past half a century and we do not recollect such a better time for the arts in Malta.

Over the past five years, government expenditure on culture more than doubled. This year alone, the government has dedicated a total of €70 million for cultural heritage, the arts, media and the creative sectors, being the highest to date.” He adds that “this increased investment in the cultural sector is symptomatic of a thriving economy. “When the going gets tough, culture is the foremost in line to fall victim to the razor gang of rational economists.”

In an irritated tone of voice, he points “We often ask why has it taken so many years for governments to give due importance to art and culture.” He points out that the industry operated in isolation with very little strategic and results-oriented networking with overseas. Now the internationalizing of our artists and their work is a major aspect of Arts Council Malta’s strategic remit.

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A telier

He insists on the importance of the financial injection into the industry. “We have suddenly become relevant abroad, especially in key sectors including literature, artistic works for television, dance and theatre. It has suddenly become accessible to go abroad, absorb and regurgitate what we come across. We now have a voice and a role to play out there.” He also notes that our culture is constantly enriched with the presence of international artists who come over to share their personal talent and experience. Albert also insists to note that above all the current cultural scenario is ensuring artists are gradually developing into entrepreneurs with an ability to set shop in places like London, Brussels and elsewhere.

I ask him what is the Council’s strategy to internationalise local art and culture to which he insists on his commitment to both mobilise Malta’s cultural scene, as well as opening it up.

Albert stresses the importance of “the weaving of networking systems to create healthy traffic for artists who are engaged in international exchange programmes,” along with “a revamped marketing strategy for the Council to enter into PublicPrivate-Partnerships in search of enhancing employment opportunities within the sector”,

while also hammering home the message that previously operational aspects of the Council – such as the Arts Fund – will be further streamlined and improved.” He adds “ we have to grow outwards in all senses and cites the various initiatives in artistic nerve centres like the Venice Biennale and, to securing of a strong presence at the London Design Biennale.

It is time to conclude. Yet I feel it is opportune to ask Albert a final question on the future role of the Art’s Council to which he quickly notes with glowing eyes: “After 2018, Malta’s cultural scene will have changed. But while much will have been achieved, more would remain to be done.” Through its Create 2020 strategy – a five-year strategy plan for the cultural and creative sectors – the Arts Council Malta’s role will be to ensure continuity and sustainability well beyond 2018. He concludes by noting that if the Council is to meet its strategic ambition of placing the arts and creativity at the heart of Malta’s future, it will need to ensure a legacy that will go well beyond 2018. This legacy depends on ideas, knowledge, and aspirations inspired by a strong belief that art and culture help create a prosperous, materially and spiritually healthier and more inclusive Malta.

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Photos credit Giada de Laurentiis

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La Vita è Bella Interview with Giada De Laurentiis, Chef, Writer, and Television Personality

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he granddaughter of famed producer Dino De Laurentiis, Giada De Laurentiis is one of the most popular household names. She is a best-selling author and wellknown culinary personality thanks to her undisputed charisma, her captivating smile and her unique approach to relate food and lifestyle.

Indeed, Giada has over the years earned a reputation thanks to her unique flair to relate food which conveys her Italian roots and her extensive travelling. She also established herself as a successful restauranteur with her first restaurant, called GIADA, inside The Cromwell in Las Vegas, Nevada.

Giada, shared with us her Italian roots, her interpretation of beauty and her latest projects including Giadzy.com

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In a recent interview you noted, “family inspires me, travelling inspires me, my viewers and fans inspire me, the people I meet on tours also inspire me.” Can you elaborate?

Family is my biggest inspiration. My first memories are of my grandfather teaching me to make pizza, and now I love sharing those traditions with my daughter. She has such a fresh perspective on everything. Travel is inspiring because I get to experience new places and cultures. I always love connecting with people through food. Social media is great too because you can see feedback in real time. It’s really inspiring to put out a recipe and see people making it that night in their homes for their families.

You have also noted that, “I feel like I only have a limited amount of time on this planet. I have to get as much done as possible.” In what way do you maximise your time around?

I am really good at multi-tasking, like many modern working women are, so that way I can focus on the most important things to me, like spending time with my daughter and enjoying the simple things. I’ll take calls while I’m walking my dog or email on my phone when I’m waiting in line. I also have a great espresso maker that gets it’s fair share of use!

What is your interpretation of beauty?

In a time when there is so much negativity, I think a simple smile is so beautiful.

How do you manage to find the right balance between work and your personal life?

I say no a lot. Earlier in my career, I said yes to everything but now that I have my daughter, I’m more selective. I also ask for help. I have a great

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team around me and I try my best to be fully present when I’m at work or with my family. If I’m not going to do it 110%, I just don’t do it

What about your new on-line platform Giadzy. com?

Giadzy is my passion project and what I’m spending most of my time focusing on right now.

Giadzy was my nickname growing up and it’s what my family still calls me. I put all of my new recipes out on Giadzy.com first, my travel tips for Italy, entertaining ideas and videos. We do a lot of quick, easy meals for weeknights too. I always wished there was somewhere that shared that kind of Italian food and travel content when I was growing up, so it’s fun for me to share that with others now. I am sort of making it up as I go but I think that’s the beauty in it. It’s very real and organic. Oh, and we’re working on an entertaining product line too! Very excited about that!

Apart from being famous for recipe books, you have also published a series of childrens’ books.

What triggers you to cater for such a specific audience?

Having a daughter opened up a new chapter in my life. It’s a big part of who I am now. I think it’s really important to start speaking with kids at a young age about food and to get them in the kitchen to experience it for themselves. It’s very empowering and it’s an audience that I will always care about deeply.

Any new plans in the pipeline?

Yes! I’m working on a new product line for Giadzy that I’m really excited about. A new show in Italy. And hopefully another restaurant. I have two in Las Vegas and one in Baltimore, so who knows where we will go next!

A telier

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A telier

ARAN CUCINE is one of Europe’s leading kitchen producer situated in Atri, Italy with over 500 employees spread over 7 production facilities. In 2018 ARAN CUCINE gained the prestigious “Superbrands Award“, Superbrands is the international authority which aims to award those brands that continue to believe in innovation, communication and sustainability investments .

Superbrands is represented by companies that keep updating themselves and are willing to improve their relations among both people and the market, in order to inspire other companies to follow their business model. This year again, ARAN CUCINE is the only company, within furniture sector, to

be recognized as “Super” next to nationally and internationally well-known brands like Fastweb, 3M and Mulino Bianco. This is a confirmation which highlights the efforts that ARAN CUCINE is currently facing in innovation and communication fields to make the brand “ARAN CUCINE” synonymous of modernity and particularly sensitive to customer needs and market trends.

ARAN CUCINE is exclusively represented in Malta by DINO FINO. The ARAN CUCINE showroom is situated in Hamrun. For further details you can either contact us on 21240100 or by email on info@dinofino.com

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A Life in Ink Interview with Aarรณn Sรกnchez,

Celebrity Chef, Restaurateur, Cookbook Author and Philanthropist

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or all food enthusiasts, Aarón Sánchez is known for his prowess with Mexican and Latin American cuisine. For others, his name is associated to his mother, Zarela, one of New York’s most celebrated Mexican chefs. Few know about the story that lies behind that ink that covers his body from head to toe. His tattoos represent his past, his present and his future. It also symbolizes an anti-establishment way of life. Above all, it offers him a sense of permanence to key moments in his life which are represented forever on his body. Aarón Sánchez shared with us his journey in the world of food, his attraction to ink and his plans for the future.

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How did your journey in the world of food start?

I am a third generation cookbook author, my grandmother Abuela and mum were both chefs, so it started when I was a kid in El Paso. I helped my Mom with her catering business and then at her restaurant when we moved to New York, so I’ve been surrounded by this industry most of my life.

You are the son of the legendary Mexican cooking authority Zarela Martinez. What role did your mother, Zarela Martinez, have on your culinary path?

She gave me a lot of guidance and support, I remember her telling me to make sure I found my culinary voice and point of view early on. She always encouraged me to be creative, expressive and educated so that I could reach my full potential.

I read you never planned to become a celebrity chef. So how did you become celebrity chef?

I just thought TV would be a good way to promote my restaurant, that’s all I ever wanted, was to have a successful business and to be my own boss. None of us at that time knew what we were getting into or how huge food television would become. I just kept taking the gigs that came my way and after 20 years in the business, I have seen how this turned from what most thought was a fad into an incredibly profitable industry.

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You are a restaurateur, television celebrity chef, consultant, spokesperson, and author. How do you juggle such a busy agenda?

I try to stay grounded by scheduling personal and family time the way I do work, once it’s in the calendar, it’s locked in. I also surround myself with supportive, energetic, positive people that keep me going when I am tired and have been on the road for a long time. I’m constantly re-evaluating my priorities both professionally and personally so that I continue to grow as a creative person, a family man and a business owner.

I read you have a top-to-bottom tattoo coverage.

Why the tattoos and what do they mean to you?

I started getting tattoos when I was pretty young because I looked up to all the pirate-esque guys in the kitchen who smoked, cursed and had tattoos, they just seemed really cool. It then became something else when I opened my first restaurant, Paladar, across the street from a tattoo shop. The owners of Daredevil, Michelle and Kevin, would trade me tattoos for food and I started getting more complex, meaningful pieces. Most of what I have relates to Mexican culture, history and my family.

We are now all partners in that tattoo shop in NYC.

A telier

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HOME

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BUSINESS

A telier You also recently noted that “There’s a permanence around tattooing, whereas food is an experience and then it goes away.” Why? Tattoos stay on you forever, the special thing about food is that you have it and you have to savour it because once it’s gone, it’s gone and that may be the only time you have that dish for the rest of your life.

That’s why I feel that it is very important to pass down family recipes, if you don’t keep cooking them and sharing them, they disappear.

You are a a strong admirer of the arts. What attracts you to music, poetry and art?

Artists all get inspiration from different mediums, so we are all connected in a way. A painter can get inspiration from a song or a meal, a musician can get inspiration from a poem or something they see on the street. We are all taking in the world around us and expressing it in the ways we know how. That’s also why a lot of us are friends, we think similarly.

In what way does Autumn change your mood in the kitchen?

Well the produce changes to start, whenever the season changes, we get new products to work with.

We have new colour palettes to work from, we also have a vibe that changes and we can run with that and create something that suits the mood of that season. I generally feel homey during the fall and earthy, herbaceous dishes usually come from that.

What is next on your agenda?

I am very excited to grow my scholarship foundation, we are empowering Latin youth to become the next generation of leaders in the culinary world by sending them to culinary school at ICC. We are working on expanding to new markets and I am so thrilled to mentor these young aspiring chefs so that they can go back and enrich their communities. For more information visit http:// aaronsanchezscholarshipfund.com/

Photo credit Cacique

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Interpreting Ink Atelier discovers the ink talent of Etienne Buttigieg,

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Tetinu, Tattoo Artist

he famous 19th century American author and journalist Jack London once noted, “show me a man with a tattoo and I’ll show you a man with an interesting past.” Indeed, every tattoo is a marker of time, that reminds its owner of its past, present or future. The colourful design of a superhero jealously holds the memories of a man whose father recently passed away whilst the well drawn face of a child on a woman, celebrates the birth of a much awaited child. Yet tattoos do not only tell the story of those who choose to have one or more but also of the craftsman who with strikes of ink creates works of art on his client.

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For Etienne Buttigieg or as he is better known, Tetinu, tattoo rekindles his childhood passion for art.

Whilst carefully designing a full sleeve tattoo, Etienne shares his love for crayons, paint brushes and any other tool which offered him the possibility to create art. However, it is fair to state that he was never too keen about formal training. “I tried to attend an art school but I didn’t finish it as the tutors wanted us to think and paint in a stereotyped way. They didn’t allow us to work according to our own impulses and inner world and I could never come to terms with that.” He admits, “I always considered myself a rule breaker and never felt I could fit into strait jackets.

I always saw art as a way to think out of the box and an opportunity to turn the conventional into unconventional. Classrooms where never a source of motivation to me.” It was only when his mentors gave him a card blanche, he was able to express his full potential.

people, in movies and magazines.” He adds that the acknowledgement of his path was step-by-step: appreciation of the clients, sensible assessment of his success, even when it’s something small.

Notwithstanding his interest in art he never dreamt of becoming a tattoo artist. His interest in ink was a matter of chance. “When I was a child I wanted to become a superhero just like every other boy! I never thought too much over the choice of profession, but it just happened.The tattoo industry was appealing to me as an image I saw on other

He also remarks that his mission has not yet been accomplished. “There is still a prevalent ignorance on tattoos driven by prejudices and misconceptions.

Development and education are the major tools to explain to people that tattoo is a real fine art and by no means a stamp on a human body or a mark of belonging to some dangerous criminal groups.”

Etienne, is today regarded as one of the best tattoo artists on the island. He has earned a reputation for his incredible realistic portraits of family figures or even some of our most beloved pop culture icons. His work is a perfect marriage between detail and creativity. Every piece plays on a fine line which distinguishes real from surreal.

Above all, his work conveys the talent of a person who notwithstanding the pitfalls he came across in life kept on striving to achieve his ultimate goal.

Despite his achievements, he insists to note, “I think a real expert in this sphere can never be completely satisfied with his works. There’s always a space for self-perfection and further creative growth.”

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BLUE FLAG NATIONAL PARKS, HISTORICAL Location is key. ‘YouSITES can look allBEACHES, over the world’ – PARKS, HISTORICAL SITES explains Managing Perry Newton, a Location isAzure key. ‘You can look allDirector over Location is key.

‘You can look allRegiment over the world’ – explains Azure Managing former artilleryman from the 29th Commando world’ – explains Azure Managing Director Perry Newton, a the former Royal Artillery in Her Royal Perry Majesty’s Armed Forces – Newton, a former artilleryman from the 29thDirector Commando artilleryman from the 29th Commando Regiment Royalwon’t Artillery in Her Royal real estate on locations ‘but you just find desirable Royal Artillery in Her Royal Majesty’s Armed Forces –Regiment ‘but you just like Bay anymore. ’ locations Majesty’s Armed Forces – ‘but you just won’tGolden find desirable real estate on

like Golden Bay anymore.’won’t find desirable real estate on locations like Golden Bay anymore.’

Surveying the Surveying the sitesite fromfrom above,above, there’s there’s zero development Surveying therolling site fromhills above, far as theJust eye can aszero fardevelopment as the eyeascan see. the of there’s the fertile development as far as the eye can see. Just the rolling hills ofzero the fertile Pwales Valley, a protected British WW2 site, see.

Just the rolling hillshistorical of the fertile Pwales Valley, a protected British WW2 Pwales Valley, a protected British WW2 historical site, two National Parks and two National Parks and horizon-spanning views of sky site,It’s two National Parks and horizon-spanning views ofhistorical sky and sea. and sea. Mediterranean It’s an idyllicparadise, Mediterranean paradise, horizon-spanning views of sky prized and sea. It’s an idyllic prized an idyllic Mediterranean paradise, prized since records began, with apiaries, tombs since records began, with apiaries, tombs and steam baths since records and steam baths among the many ancientbegan, with apiaries, tombs among theRoman manyand ancient Phoenician, Roman andancient Arabic and steam baths among the many Phoenician, Arabic constructs Phoenician, Roman and Arabic constructs in the area. constructs in the area. in the area.

For location experts scouting for the , the experts scouting for the 2004 Hollywood blockbuster ForTroy location For location experts scouting for the 2004 Hollywood untouched countryside and twoHollywood Blue Flag blockbuster Troy, the 2004 blockbuster Troy, theuntouched untouched andBlue two Blue beaches seemed the perfect setting forcountryside thecountryside and two Flag mystical Greek island of Ithaca.

Without beaches seemed the perfect setting for the Flag beaches seemed the perfect setting for the mystical question Sands Tower, which looks Greek out island of Ithaca. Without mystical Greek island ofisIthaca.

Without question Sands Tower, over Golden Bay, very much a castaway, question Sands Tower, which looks out get away from it all type ofover property.

Yet,Bay, is very much a castaway, Golden which looks out over Golden Bay, is very much a castaway, with Valletta the Europeanget Capital away of from it all type of property. Yet, Culture 2018 just 30 type minutes’ drive get awayforfrom it all property.

Yet, with Valletta withof Valletta the European Capital of away, Malta’s many cosmopolitan charms Culture for 2018 just 30 minutes’ drive the European Capital of Culture for 2018 just 30 minutes’ are always easily accessible. away, Malta’s many cosmopolitan charms drive away, Malta’s many cosmopolitan charms are always are always easily accessible.

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With Azure Group’s ‘Sands With Azure Group’s ‘Sands Tower’ properties having

Tower’ having officially launched on properties a fractional basisofficially in Augustlaunched on a fractional basis in August 2018, connoisseurs of pristine connoisseurs of pristine Mediterranean2018, seafront Mediterranean seafront property are paying close property are paying close attention. attention.

Resulting from a successful collaboration between acclaimed architects Make and Resulting from a successful collaboration fellow London-based interior design between acclaimed architects Make and practice G.A Designs, the Sands Tower fellow London-based interior design development is set to become Malta’s practice G.A Designs, the Sands Tower showpiece beachfront property, complete development is set to become Malta’s with Miami Beach loft-style apartments showpiece beachfront property, complete in an unrivalled, protected historical and with Miami Beach loft-style apartments natural location. in an unrivalled, protected historical and natural location.

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A telier Strategic location in Europe STRATEGIC LOCATION IN EUROPE Alongside the usual names, such as London, Paris, New York, San Francisco,

Alongside the usual names, such asandLondon, Paris, Tokyo Sydney, you’ll find a second tier of must-target real estate acquisitions.

New York, San Francisco, Tokyo and Sydney, Malta is a consistent and regular STRATEGIC LOCATION IN EUROPE contender in this group. Even during the global financial crisisestate of 2007-08, Malta’s you’ll find a second tier of must-target real property market remained stable.

Alongside the usual names, such as acquisitions.

Malta is a consistent and regular London, Paris, New York, San Francisco,One of the reasons for the robust nature Tokyo and Sydney, you’ll find a second of the industry the active government contender in this group.

Even during theis global schemes in place, which are supported tier of must-target real estate acquisitions. by strong legislative and regulatory financial crisis ofand 2007-08, property market Malta is a consistent regular Malta’s frameworks, including all the EU contender in this group. Even during theDirectives transposed into Malta’s laws. remained stable. global financial crisis of 2007-08, Malta’s

Malta’s hard-won EU ties, which continue to be strengthened, reveals the nation’s pragmatic approach to their place in the and desire to remain part of the Union One of the reasons for the robust natureEU into the future. With a strategic location of the industry is the active governmentin Europe plus close ties to North Africa schemes in place, which are supported and the Middle East, Malta’s multicultural composition makes it a perfect match for by strong legislative and regulatory anyone looking to add a unique holiday frameworks, including all the EU home to their collection.

property market remained stable.

One of the reasons for the robust nature of the industry is the active government schemes in place, which are supported by strong legislative on the island is taken into consideration. Not only market conditions (with an increase property prices in Malta in the third and regulatory frameworks, including all the is there a favourable tax regime and resilient labour Directives transposed into Malta’s laws. in foreign workers) strong growth in quarter of 2017 enjoyed the second Malta’s hard-won EU ties, which continue disposable income also contributes to highest increase in the EU, going up by SECOND HIGHEST INCREASE IN EU Directives transposed into THE Malta’s laws. market conditions (with an increase in foreign a steady increase in Malta’s property 4.3% according to official statistics.

EU to be strengthened, reveals the nation’s prices. Since the global financial crisis, the pragmatichard-won approach to EU theirties, place which in the continue to Malta’s workers) strong growth in disposable income also property market in Malta has gone from 2018 is proving to be another high profile Owning fractional property in Malta is EU and desire to remain part of the Union strength to strength, with 2017 being one year for the Malta property market, which a win-win situation, especially when the be nation’s pragmatic contributes to a steady increase in news Malta’s property intostrengthened, the future. With areveals strategic the location of its best years. is good for anyone interested in the property market on the island is taken prized area of Golden Bay. into consideration. Not only is there a in Europe plus to North Africa approach to close theirtiesplace in the EU and desire to prices. the reported globalthat financial crisis, the property In FebruarySince 2018, Eurostat favourable tax regime and resilient labour and the Middle East, Malta’s multicultural composition makes it a perfect remain part of the Unionmatch intofor the future. With a market in Malta has gone from strength to strength, anyone looking to add a unique holiday strategic location in Europe plus closemarket ties to North(with an increase with 2017 being oneprices of itsinbest conditions property Maltayears. in the third home to their collection. in foreign workers) strong growth in quarter of 2017 enjoyed the second Africa and the Middle East, Malta’s multicultural disposable income also contributes to highest increase in the EU, going up by SECOND HIGHEST INCREASE IN composition makes it a perfect matcha steady for anyone increase in Malta’s property 4.3% according to official statistics.

In February 2018, Eurostat reported that property THE EU prices. Since the global financial crisis, the looking to add a unique holiday home to their prices in Malta in the third quarter of 2017 enjoyed property market in Malta has gone from 2018 is proving to be another high profile Owning fractional property in Malta is strength to strength, with 2017 being one year for the Malta property market, which a win-win situation, especially when the collection. the second highest increase in the EU, going up by property market on the island is taken into consideration. Not only is there a favourable tax regime and resilient labour

of its best years.

is good news for anyone interested in the

4.3% according to area official statistics. prized of Golden Bay.

In February 2018, Eurostat reported that Second highest increase in the EU

Owning fractional property in Malta is a win-win situation, especially when the property market

2018 is proving to be another high profile year for the Malta property market, which is good news for anyone interested in the prized area of Golden Bay.

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Sands Tower with Sunseeker to Go Anyone fortunate enough to have a Sands Tower apartment as a holiday home should definitely make use of the sparkling Med right on the doorstep – and have a luxury motor yacht moored outside. Complete with captain, stewards and crew, Azure Ultra lets you fully enjoy the pleasures of life at sea. . . without the pains of ownership.

The multiple award-winning Azure Ultra offers a hassle-free, cost-effective alternative to outright ownership through one of Europe’s most successful fractional ownership schemes. With stylishly uniformed and highly trained captains, stewards and

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crew and an ever-growing fleet of Sunseeker motor yachts anchored at historic Birgu Marina, Azure Ultra continues to deliver what it terms ‘beyond ordinary customer service’.

Statistics speak volumes. Connoisseurs of luxury love Azure Ultra’s bespoke service excellence. On TripAdvisor alone, the charter company has a 100% record of 5-star reviews. Only recently, Malta International Boating & Yachting Awards awarded Azure Ultra Best Customer Service of the Year 2017 and Best Maltese Based Charter Company of the Year 2017.

A telier Freedom that Appeals As most high-end yacht owners know, the disadvantages of boat ownership are legion, from cost of maintenance and crewing to berthing in suitable and convenient marinas. Being able to hop on and off a boat whenever you want is truly liberating.

Simply arrive in Malta, get driven to the marina, stroll on to your Sunseeker and cruise off into the sunset with your Mediterranean itinerary already pre-planned and your Maltese celebrity chef whipping up a snack on the BBQ.

E-Currency Based Private Club Membership Azure’s high-flying success in the fractional ownership business within the leisure and travel industry (over 20 awards since 2012) has given it the vision, confidence

and, uniquely in this case, the assets, to introduce the world’s first e-currency-based private club membership, with access to a whole portfolio of luxury leisure products and experiences, from 5-star resorts and lodges to supercars, luxury motor yachts and more.

Known as Azure X, this new division uses blockchain technology for seamless transactions, giving customers more flexibility and freedom. What makes the membership even more appealing is that the XP, which is the term for the e-currency, holds real value because supercars, yachts and other products are all tangible assets owned by Azure X. Sands Tower, Azure Ultra, Azure X, or a little bit of everything? If you’re looking to snap up an amazing beachfront holiday home, spend more quality time at sea or to enjoy a full calendar year of dazzling destinations and exciting experiences, your golden opportunity has arrived.

If you’re interested in Golden Bay apartments, Sunseeker yachts in Malta, 5-star resorts worldwide or even supercars in the UK, please contact Azure X’s EMEA New Business Development Director now on +44 (0)20 3908 6115 or email: gavin.dickinson@azure.com.mt

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Malta’s newest Hospital.

Right at your doorstep.

St Thomas Hospital Valletta Road Qormi

Now Open.

Call us on 21 482 482 85

Breast Care at

St Thomas Hospital Thinking about having your first mammogram? Pink October is synonymous with raising awareness about the importance of early screening for breast cancer. But what does screening mean to you? Is it having a mammogram or an ultrasound? What options are out there? Is it scary? Knowing that the idea of having your first mammogram might be daunting, we compiled the most frequently asked questions by woman who are having their first scan in order to inform and to dispel frequently unfounded fears; What does screening mean?

Screening for breast cancer is effectively standardised methods of checking for breast lesions by professionals. These methods consist of mammograms, ultrasounds, MRIs but also selfchecks and check-ups by breast specialists. When carried out regularly these programs can detect changes in the breast in the early stages although none are associated with preventing breast cancer.

Rather they are methods of early detection.

Is a Digital mammogram better than a film based

What does a mammogram do?

Mammograms save lives! They are the best tool we currently have in detecting most types of breast cancers. These machines use X-rays which can detect even very small tumours in the breast and micro-calcifications, the most common feature of tissue around a tumour, long before they can be felt with the hand or diagnosed as a result of other symptoms. In newer digital mammography systems the resolution of the scan is very high, showing extremely small details to the radiologist.

What is digital breast Tomosynthesis?

Tomosynthesis (also known as 3D mammography) is a state of the art breast care technology that has revolutionised the way doctors screen and diagnose breast cancer. It allows doctors to see the breast beyond the capabilities of traditional mammography and greatly improves the early detection of breast cancer.

How is a mammogram done?

During your mammogram your breast to be placed on the machine and plastic plate will be lowered onto it to gently flatten it. This will help get clear images, two of each breast, one from the top and another one from the side. Additional images may be ordered by the attending radiologist in case further details are needed.

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mammogram?

Studies have shown that the detection rate of digital mammograms is superior when compared to previous generation film based systems, especially when screening dense breasts. Thus when getting a mammogram, it is important to choose the best quality you can. In recent years there has been a further advancement in mammography called Tomosynthesis.

Why is it different to a normal mammogram?

While in traditional mammography the breast is viewed using just one single image, in digital 3D Tomosynthesis, the machine sweeps over the breast and acquires up to 70 images from different angles allowing doctors to see breast tissue from multiple perspectives using clearer images.

Are mammograms and tomosynthesis painful?

Mammography technicians are highly trained in making the process as quick and as painless as

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What if I need an ultrasound after my mammogram?

Needing an ultrasound after a mammogram is fairly common and does not mean that you got a bad result. Ultrasounds are used to look at a particular area more closely and determine whether the abnormality is a benign, a malignant lesion, or a simple fluid filled cyst. An ultrasound can also help define a mass in the breast that you feel yourself, even if it does not show up on a mammogram.

At what age should I get my first mammogram?

If you’re 40 years old or older you can voluntarily submit yourself to a mammogram examination.

However, the indicated age to start having regular yearly mammograms is at age 45 if you are at an average risk of having breast cancer.

possible. In fact, most people report discomfort rather than pain, while others may feel some pain.

The whole process of taking the pictures only takes minutes, minimising the discomfort as much as possible.

Is it safe?

Mammograms use X-Rays to produce images.

Although frequent exposure to x-rays poses a serious health risk, in modern digital mammography systems this exposure to radiation is so small that the benefits of having a mammogram each year greatly outweigh the risks of radiation exposure.

Should I get a mammogram if I’m under the age of 40?

Regular mammograms are not recommended for women under the age of 40. Experts believe that the risk of getting breast cancer at a young age is too small to justify the low level radiation administered during a mammogram. However certain women are at a risk which is higher than the average. A woman which doesn’t have a family history of breast cancer, history of radiation therapy or specific mutations in genes called BRCA1/BRCA2, and other factors, is said to be at an average risk of having breast cancer. If any one of these criteria is satisfied then a mammogram may be recommended, even if under the age of 40.

For more information regarding our breast care services, call St Thomas Hospital on 21 482 482.

We’d be delighted to to answer any of your questions!

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B E AU T Y

There is no real beauty without some slight imperfection.

James Salter

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Photos credits PUPA Milano

The beauty of a woman must be seen from in her eyes, because that is the doorway to her heart, the place where love resides.

- Audrey Hepburn

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The Beauty of a Woman Interview with Giorgio Forgani, Global Make-Up artist of PUPA Milano

G

iorgio Forgani is a magician who with make-up tools is always ready to pull out of his hat something amazing which exalts the beauty in every face he comes across. His work plays on a very fine line which distinguishes what is defined as run of the mill from what may be regarded as amazing, artistic and beautiful. Irrespective of whether critics like his work or not, they all agree that he is a genius, a leading ambassador of the industry and a champion of excellence.

We asked Giorgio what it’s like to work with some of the industry’s leading names, of working with a top brand like PUPA Milano and his upcoming projects.

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How did it all start?

I had the opportunity to collaborate with a photographer in Bologna, helping him out with the make-up for the models on his sets. Since then, I never looked back and thanks to my passion, determination and perseverance managed to find may way in the industry. Indeed, within a very short time, I started cooperating with the great fashion designers, in the backstage at fashion shows and later also worked closely with important international cosmetic brands. I am currently the global make up artist of Pupa Milano.

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What is your definition of beauty?

I believe that there is an element of beauty hidden in every woman which is waiting to be discovered and enhanced thanks to simple steps, that are not necessarily loud or complicated. The moment the element of beauty is discovered, then the game can begin, going from iridescent effects to vibrant colours, from matt effect powders to the sensorial world of textures.

How would you define make-up?

Make-up is not an alchemy, or something that only

A telier skilful hands can manage. It is for accessibly for everybody. It is the secret to always look at your top.

In what way is your profession rewarding?

The make-up industry is very challenging and necessities long hours and constant focus. It can at time be overwhelming yet you can quickly be motivated by a surprised look on the face of the people you make-up, as they immediately see themselves as being more beautiful.

You have delivered lectures specifically focussing on the use of make up by some over 40. In what way does the approach to make up change at the age of 40?

At the age of forty and over, the face tends to show more that sense of fatigue after a night out or a busy week. Thus, it is imperative for women to better understand her skin and the best way to use make up. It all lies in the base applied to the face especially in the proper use of foundation.

What makes PUPA Milano stand out of the crowd?

PUPA offers quality and easy application, without forgetting the needs of the women of today, which

get closer and closer to the world of fashion. It perfectly represents the uniqueness of the Italian spirit and its natural good taste. The cooperation between PUPA and Giorgio confirms the evolution and growth of the “made in Italy� brand.

In what way does the autumn season influence your mood?

Every season inspires you in one way or another.

The autumn season calls for a heavier make-up with a focus on earth colours perfectly fit with the heavier clothes we wear during this time of the year.

It is a time which I associate with burnt colours such as maroon, brown and shades of red. This year teal is also very much in use during this season.

In what way does the autumn season influence your mood?

Every season inspires you in one way or another.

The autumn season calls for a heavier make-up with a focus on earth colours perfectly fit with the heavier clothes we wear during this time of the year.

What are your plans for the future?

There is a quite a lot going on and must say I am heading to some very busy times.

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The beauty of Imperfection Interview with Diego Dalla Palma

Beauty has so many forms, and I think the most beautiful thing is confidence and loving yourself.

- Kiesza

I

t goes without saying that Diego Della Palma is one of the most sought-after, world-famous makeup artists of a generation. His work is regarded by many critics as pure art which seeks to discover beauty in the imperfections of a face.

Indeed, his mastery lies in his ability to focus on the natural features a face offers accentuating its strengths and minimising the impact of its weaknesses. He has over the years vociferously expressed his disapproval towards plastic surgery stressing on the importance to give space to the beauty a face offers in the various stages of life. We had the opportunity to discuss with Diego Dalla Palma his journey in the industry, his interpretation of beauty and projects he has in the pipeline for the coming months.

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A telier

What encouraged you from a very young age to undertake a career in beauty?

It actually happened out of pure coincidence. After studying at the Institute of Art, I started working in theater as a set designer and costume designer in Turin and Milan, in Rai, for ten years, from 1968 to 1978. It was only later that I became interested in make-up. The years in Rai have represented a great experience and have allowed me to deepen my knowledge in make-up and hairstyle. In fact, on television, a costume designer does not only deal with costumes and sets but also with make-up and hair. I began to get passionate about make-up, until I was given the responsibility of the total image of great protagonists of Italian culture. I have always believed that my work was aimed at bringing out the personality of the protagonist through make-up.

One of your most famous books entitled – ‘A Nudo’ - many critics believe, is your most raw, scabrous, but also the most sincere and visceral book. How much do you think this is a correct interpretation of the book?

How right is it? A lot. Surely – ‘A Nudo’ - is one of my most intense books. It is a sincere story of a lived life, of my direct experience which sometimes was painful. ‘A Nudo’ is Diego pouring my heart out, a broken, suffering heart but despite all this it is throbbing and full of life. The message of each line in the book seeks to highlight the fact that: one can go up from the abyss he is in, through an inner journey, recognizing mistakes and weaknesses and transforming them into growth, maturation and awareness. It was painful to write but it helped me to find “my” truth. This process, not only for me but for everyone, is infinite, is continuous.

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A telier

In a recent interview you defined yourself as “curious, attentive, and a lover of general art.” Can you elaborate?

The in-depth knowledge of the world is essential to understand the meaning of life. I am curious by nature, restless and I love always looking for new stimuli, new passions. I find this also through art (which is fundamental to me) in all its expressions.

But above all, I try to fnd this knowledge through geography.

You have also defined yourself as a citizen of the world. Explain to us better.

It is because I love travelling. I feel that my travelling is and will be the lifeline of my life, the care for my soul and the reason that will give meaning and a sense to my old age. A journey is a comfort for me.

It gives emotions, stimulation to meditate, to mediate with my conflicts, to give answers to the many questions that life imposes. In this sense, I feel like a citizen of the world.

What is imperfection?

It is beauty. I personally consider “imperfection” as something remarkable and interesting, something that can vibrate, excite, in which one can recognize oneself. And surely we cannot recognize ourselves in something artificial, constructed or too perfect.

You also wrote a book called ‘La Bellezza Interiore’.

What is inner beauty?

The book is a meaningful journey to try and get to know oneself better: to be able to love oneself a little more, to find or, at least to look for, that inner beauty within oneself. This is what I have so much idealized and supported. These are my reflections and considerations on themes such as the fear of getting old, the uneasiness of those who always feel “inadequate”, the dependencies on models, the homologation, the indifference towards the poorest and weakest. As always this is the result of my human and professional experience. Inner beauty is the intelligence, the beauty of the human soul, its spirituality. It must be cultivated, enriched, “lived”.

In fact, inner beauty is sensitivity; it is the soul that is reflected outwardly, which we can read on the face.

It is personality, therefore. It is also imperfection, atypical.

You have often expressed yourself negatively on cosmetic surgery. Why? Personally, I would not resort to it and I find it unseemly that most of the people in the showbiz, and unfortunately, nowadays even people who are not part of that world, are a series of clones of inflated and unrecognizable faces. However, I think there are cases in which cosmetic surgery cannot be renounced and I refer to those circumstances in which it is necessary to get back on track, to fix or intervene on cases of serious aesthetic-psychological problems.

What impact does autumn have on you?

Negative, because it precedes winter’s lethargy.

How can one translate the autumn in terms of beauty?

All the shades of red, before dark, before the grey or the black.

What new projects do you have in the future?

A lot. Two broadcasts, (one for RAI PREMIUM UNIQUE - and one for PARAMOUNT with a title yet to be defined), a new educational book being developed and the further development of my DIEGO X TE blog (www.diegoperte.com).

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Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little things, long after you have forgotten everything.

Aaron Siskind

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PHOTOGRAPHY

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Photo credit Alessio Bolzoni

Photo credit Alessio Bolzoni 104

Life Through a Lens Alessio Bolzoni, Photographer

T Photography takes an instant out of time, altering life by holding it still.

Dorothea Lange

he hectic life we are all entrapped in often prohibits us from observing the detail a photo may offer. Yet there is something in the work of Alessio Bolzoni which instantly captures your attention and encourages you to stop and observe the message he seeks to convey in every shot. Every shot spells out his incredible eye for light, shape and motion which is presented in a simple and elegant manner.

The Italian born photographer is regarded by many as one of the best photographers in circulation and his work has been widely featured in top publications like Marie Claire, Elle US, Harper’s Bazaar UK, Grey Magazine, NumÊro, Glamour, Stylist Magazine, Vogue Russia, and many more. His portfolio includes the likes of Dior, Kris Van Assche, and Bruno Magli.

With such a busy agenda, it is hard to imagine Alessio ever taking a break.

Thankfully, he took one for us.

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How did it all start?

It started very naturally. I had a natural attraction for photography since I was about ten, eleven years old begging my mother to buy me a camera after trying to steal hers. I was attracted by the cameras and the films and as soon as I could I started developing and printing my own stuff.

I remember those days as the most beautiful of my entire life. I stayed in my dark room with the red light on, until the air was saturated by the chemicals’ smell.

During those days I learnt what Photography was, and during my studies later on, what Art was.

commercial side of my work and to create parts of a bigger dialogue with my artistic work.

What inspires you? Are there any photographers that influence your style?

I am inspired by what I see and what I look for. But most of all I am inspired by my desire of creating a work that speaks for itself and generates a dialogue.

Critics have defined you as “one of the avant-garde fashion photographers redefining both the concept of beauty and visual art in the fashion industry today.” To what extent do you agree?

Yes I do. I feel part of a generation that really explores and pushes the boundaries. The idea of beauty has changed and it keeps changing and I like to think of myself as part of this dialogue about the redefinition of beauty, identity and commercial.

How would you define your style?

I don’t have any style. Even if photography is about aesthetic, what I do is to explore possibilities into the

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In a recent interview, you noted that, “The real challenge for me is to find a way to do something new and unique.” What makes a photographic project unique?

The idea and the process that brings you to a point makes photography a unique project. For me the creative process is more important than the moment when I shoot. I like to challenge myself with new ideas and collaborations.

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What are the major challenges offered by the fashion industry to a photographer?

What I like is that I feel pushed to try and find a new language and a new aesthetic that brings authenticity and energy to a field which is very often repetitive.

I note that action plays a key role in your work.

What role does action have in your photography?

It all started from a fascination for Street Photography and mistakes. The idea that an unseen moment is taken as a micro part of a time portion is very interesting.

I like the idea of the time as an elastic band.

Stretching it I can find moments of wonderful energy and a new idea of beauty.

Tell us about your book ABUSE? What message does it convey and why did you opt for flowers as your main theme?

I used the flowers to communicate the sense of Abuse I see everywhere. It’s not a book about flowers. I didn’t take any pictures of flowers but

an obsessive, rhythmic documentation of what Abuse is to me. For this reason, the book needs to be interpreted against the grain: do not look at the object represented in it, but do question the decaying situation of these flowers that once were alive and magnificent.

What’s next for Alessio Bolzoni?

I am working on my next book: Abuse II - The Uncanny It’s the second chapter of Abuse; it delves into the same concept but through human bodies.

I invited several people to a set in Berlin and in London and took several photos of them.

I wanted Berlin because of the German History that is still so perceivable there. And I wanted London because it’s the place where I live, and even if it is a happy enclave in a country in which the majority have decided to isolate themselves from Europe, it represents the people that turn down the possibility to be part of a big and strong new Entity to which we Europeans all belong.

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Photos credits Brian Grech

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The Inquisitive Eye Brian Grech, Photographer

T What I like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.

here is something particular in the photographic work of Brian Grech which instantly captivates you and quickly explains why he is regarded as one of the best photographers on the island. His is clean, chic and with such an intense story. Moreover, his work is a visual representation of life in all its strange beauty — complete with imperfections and a dose of untamed reality. Brian took some time off his very busy agenda to share with us his love for photography, his views on the industry and his plans for the future.

Karl Lagerfeld

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What or who got you started in photography?

I was exposed to photography at a young age. However I never thought it would be my full time profession. At my first job as a creative director, I was in charge of looking up and searching premium stock imagery for advertising purposes and my interest in photography increased. Coincidentally around the same time, there was a Mario Testino exhibition in London and a friend of mine gave me the exhibition book. I was quite fascinated with the whole celebrity/ photography thing going on at the time. I’m not sure who my first subjects were, if I recall well, I started experimenting with photos of myself, highly photoshopped over different backgrounds and so on, then of friends and right after of several known personalities locally. In a short time, I was the photographer to go to if you wanted to look your best. I

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A telier wanted to achieve that glossy look that was lacking in Malta. Circa 1998-2000, retouching was quite unheard of, and in some photography puritan circles was also considered a scandal. However I was confident that post-production was important in achieving the final imagery. Primarily I was photographing solely fashion and personalities.

I think one of the campaigns that put me in the limelight was the one with TV personality Rachel Vella in the Sterling Jeweller’s Christmas campaign that was all over the island, at the time that billboards and visual media weren’t as oversaturated as today.

What attracts your photographic lens?

That is something that constantly changes, however I think that I’m always looking for a sense of beauty, not necessarily in the stereotypical sense. Also anything that I feel narrates a story. I like things that are a little odd or quirky. When I am asked what I prefer to photograph, I am always hesitant to answer.

I still find people the most interesting to photograph, but it could be an object or location that has a strong aesthetic.

In a recent interview, you noted that “Art and photography can show beauty as well educate.”

Can you elaborate?

There are always new ways to portray beauty and it is also relative to time. It is always exciting to give new meaning to old things so that these are seen in a new light. I feel that exposing people to new things, or bringing their attention to something they wouldn’t look at twice helps to educate, to open people’s minds, to see things differently and possibly remove biases; sometimes triggering off more philosophical understanding. If art can manage to touch the soul it has achieved its aim.

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A telier You also noted that “in a world where I feel people read less, visual imagery can have more impact.”

Why? I think that visual imagery is more direct and gets through the core of things quickly. Once the image is seen the mind assimilates it quicker and relates to it faster.

I believe we are living in a very visual era. This is not necessarily a good thing; however it is our current reality. Therefore the visual is narrating all or most of the story. From a commercial point of you, it is the time where companies are investing most in their visual media, because they understand that this is a vital tool to pass on their message and portray their products and services.

I am pretty impressed with your still life collection.

There is so much going on in every photo. Every photo encapsulates so many details which together convey one clear message. What lies behind such an interesting style of photography?

My still life photos vary from images taken for editorials, client work, travel as well as everyday life.

Every still life photo starts off with the main object, all the other peripheral objects help to pin the main object giving it the attention it deserves and helping to make it a whole. As much as some items might seem random, most of the time they are actually well thought out beforehand, however on photoshoots I like to improvise - if I see something I think fits the narrative, I will add it.

Every image has that strong sense of elegance.

What does elegance mean to you? In what way does it make any photo stand out of the crowd?

To me, my photographic style reflects my personal sense of style. Most of the time this style runs throughout - whether it’s my home, my outfit or a photo composition. I do not force things or ‘try too hard’ to create something. After 20 years in the field of aesthetics, I feel my style has matured. I never think much about my sense of style and I don’t try hard to please (unless there is client brief). The

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term elegant is a broad term. Elsa Schiaparelli said “I myself used to do absurd things. Yes, I mean that. I had to have a laugh, and some of the things were absurd. But they could always be worn by an elegant woman; they did not negate her elegance.”

I relate to this in my personal style, and also apply it to my work at times. The only difference is that I make sure that the photo can carry that little ‘absurdity’ with elegance. I’m not sure how to explain it, but it’s about balance... when I see it I know it’s right, and I don’t have to think twice about it.

You also seem to love the shadow effect. What do shadows represent to you?

Light and shadow are the means by which an object or person gains three dimensionality and a

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more realistic composition. It is the play of light and shadow that can create a mood. I feel that light changes everything and is the foundation to photography. Coming from a sunny island, we have shadows most of the year, and the infamous Caravaggio painter has also left an imprint on me.

Now I feel this is more evident in my work, but when I started doing photography, some people told me they loved my sense of chiaroscuro but I wasn’t that aware of it myself at the time.

In what way do you feel styling plays a vital part to the end results of any photography?

Styling was for a long time neglected locally. Now we hear this buzzword all the time. Styling is very important in portraying the message. Styling can be subtle and not necessarily noticed. I like

dramatic images, but most of the time (unlike some other photographers) I avoid overstaging. I don’t consider myself a minimalist, although some people think I am, however I do believe in keeping things as simple as possible, as far as they create the mood intended. Styling can turn something vulgar into something elegant. And I find that very exciting.

In what way does autumn affect your photographic mood?

Malta has a short autumn and maybe is less noticeable than other countries since our winters are generally mild. Autumn is a transitional season, like spring.

I look forward to spring more than autumn, for the simple reason that spring follows the cold

winter months. However I find that autumn is usually my most productive time of the year. After the tiring heat in summer, the autumn weather gets me back on track - the time to catch up and execute ideas gathered over the summer months. It is also generally the time I travel most and gather inspiration.

What’s next for Brian Grech?

I have nothing major planned at this time. Juggling between photography, some design and the hospitality industry keeps my schedule very full.

Every year I keep telling myself to accept fewer jobs and focus more on personal photoshoots, but so far it’s falling on deaf ears. I have also been doing less fashion photography in the last years as opposed to when I started off - I might catch up a little on that.

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It is not the beauty of a building you should look at; its the construction of the foundation that will stand the test of time.

David Allan Coe

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&

DESIGN ARCHITECTURE

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Photo credit Giorgio Baroni

My analogy is Giorgio Armani. The Armani brand is the umbrella, but that incorporates a full range of products from Giorgio Armani haute couture to Armani Jeans. I see POP

by D‘O as the philosophy underlying the style, i.e. making D‘O quality food accessible. Other brands representing the D‘O style— such as H2D‘O or IDish by D‘O—will reflect the D‘O style in the various branches of my activities, such as design, books, etc.

Photo credit Sebastiano Rossi

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Beyond Food Davide Oldani, Michelin Starred Chef & Creator of Cucina Pop

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avide Oldani, is not a normal talent. He is the author of the famous CUCINA POP, a concept which creates a happy marriage between quality and accessibility. His restaurant il D’O, in his hometown of Cornaredo in the province of Milan is his laboratory where he constantly creates amazing creations which have earned him a reputation as one of the leading chefs in the culinary industry.

Indeed, one year after opening, the world’s most authoritative food guides counted him amongst the greatest chefs of contemporary Italian cuisine.

Chef Oldani is not only a great chef but also an amazing designer whose work is internationally acclaimed for its originality. Notwithstanding a very busy agenda, Chef Oldani accepted to share with us his experience in the food industry and what inspires his creative flair both as a chef and as a designer.

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What encouraged a very promising football player to seek a career in the food industry?

Football was my first dream and at the age of sixteen, I was already playing in the Italian third league yet later nursed a new one. My mother’s amazing dishes made me quickly fall in love with the world of food and played a fundamental role in my decision to study at a culinary school. I still fondly follow football yet do not feel any particular desire to practice it. I also do practice sport to keep fit and enjoy promoting the concept of cooking combined with sport.

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Your cuisine is often described as “cucina pop”.

What is it?

Cucina Pop was born from my desire to combine simplicity with well-made, delicious with accessible and innovation with tradition. Seasonal ingredients and exceptional quality are the two cornerstones of my cuisine. To these two principles I have added a third, that guides me in the preparation of every dish: the search for harmony and the equilibrium of contrasts, that for me is not only the promise of sweetness in something savoury or an idea of saltiness in something sweet, but it is also the harmonious coexistence of everything that stimulates the palate in every dish: soft, crunchy, hot, cold, sweet, bitter.

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You are also a great designer. Can you tell us more what inspires your design work?

My designs are inspired from my guests and their habits. Tables, chairs, dishes, tableware and glassware are inspired by the POP cuisine philosophy: simple, functional, elegant.

I recently read that your restaurant has been the subject of a case study at Harvard and in the economics courses of universities in Paris and Bologna. What is so special in your restaurants business model?

My restaurant reflects my approach to life. The key rule is to always respect your customers and the people who work with you. It is an innovative system to build Michelin-starred quality at a very reasonable cost. The Pop Concept is about how an organization through careful design of their operating systems can fundamentally change the cost-quality trade-off.

Do you feel more chef or designer?

Definitely a chef who designs for convenience purposes.

You often note, “ethics and aesthetics go hand in hand.” Can you elaborate?

I love having beautiful things, but I just don’t understand a beautiful object that’s not functional.

Tell us about your Passepartout concept.

I have given a form to functionality and practicality with Passepartout, a piece of cutlery that fulfils three tasks while at the same time saving space on the table and economizing on dishwashing. There is also a version that, without losing its versatility, remains a spoon to catch the last few drops of sauce but is also a fork for spaghetti with longer tines.

In what way does autumn exalt your creativity?

Every season offers some form of inspiration to create new concepts.

What are you looking for in the coming months?

A strong desire to work, sacrifice, acknowledging that whatever we do requires time and patience.

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All Roads Lead to Rome Atelier meets Colin Zammit, Architect and Owner, Maniera Group

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here is something very particular in the work of Colin Zammit which instantly catches your attention. It is bold, compelling and forward looking. Each of his structures rises above any predictable style, and are inspired by a unique contextual awareness. His ability to masterfully blend space and light in subtle forms has turned him into a central figure in the local contemporary architectural industry. It also comes as no surprise that his work has earned him a reputation as one of the most celebrated and well-respected architects in Malta.

Photo credit Roger Azzopardi

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Photo credit Colin Zammit

The famous iconoclastic English author, essayist and critic, Samuel Butler once noted that a “man’s work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.” Indeed, his work reflects his eccentric personality which is visible the moment he greets me at his studio in Mosta.

I am invited to leave my tools at the reception for a quick tour around the office. The place is packed with beautiful features traditionally found in any local townhouse. The bright colour of local limestone is complemented with bold features including the imposing black and white chequered floor, the two tone sofa and the bright green sofa. Above all, the different shades of red present in all corners of the outlet from the modern

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office chairs to classic curtains up to the modern painting. Taylor Swift once noted that “Red is such an interesting colour to correlate with emotion, because its on both ends of the spectrum. On one end you have happiness, falling in love, infatuation with someone, passion, all that. On the other end, you’ve got obsession, jealousy, danger, fear, anger and frustration.” Indeed red conveys his warm and passionate character. Moreover, it is the colour of a full body red wine, an ingredient he fondly enjoys alone or in the company of his friends and loved ones. Above all, red is associated with Ancient Rome, the place he adores.

We walk into his office where we quickly set the tone on what attracted him to the world of architecture. “From all professions available, I opted

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Photo credit Colin Zammit

for architecture. There was something attractive in architecture which instantly captured me. I was attracted by the feeling that a good design stands a chance to see itself being manifested in a structure or buildng.” As Julia Morgan once noted, architecture is a visual art and the buildings speak for themselves.” He adds that “ architecture is clean, massively responsible and long lasting.” Moreover, he points out that “architecture is one of those professions which offers you the unique opportunity to be self employed so you are independent. I am the boss of myself.”

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I ask him about his professional ethos to which he promptly notes that “my philosophy revolves around the concept of connectivity. Indeed, I constantly seek to show how different elements can harmoniously coexist together through architecture, good planning, detail and design.” He believes that his team plays a key role in relating the element of connectivity with their work. He adds that from a professional point of view, “I am humble yet at the same time very proud of what I achieved. Every time I travel, I bring back something with me in terms of knowledge and experience. I choose different hotels

A telier and diners to observe their design, structure and character. I would say, I am an inquisitive tourist; I enjoy yet at the same time refuse to waste time.”

I ask Colin whether he prefers form or function to which he declares, “they are equally important yet their role depends on the context. If something looks beautiful, but doesn’t actually work properly, is it successful? If the building we attend a class in every day keeps us dry, warm, and has adequate space and light, but is aesthetically “unfortunate,” is it successful? Truth be told, there’s really never a better question to answer with my favourite “worst answer” or, “it depends.” Honestly, there’s always a myriad of circumstances that seem to be at play.”

I don’t think that architecture is only about shelter, is only about a very simple enclosure. It should be able to excite you, to calm you, to make you think.

Zaha Hadid

Colin believes there is a strong link between food and architecture. “They both have various elements which make them so complimentary.”

His school of thought was evoked some centuries ago by the famous French Chef, Marie Antoine Carême who threw down the gauntlet when he declared architecture the most noble of the arts and pastry the highest form of architecture. A century and half later, the collection of essays in the book, Eating Architecture explores further the relationship between food and architecture by asking what can be learned by examining the intersection of the preparation of meals and the production of space.

had a vision thirty years ago on renewable energy, Madrid’s “sustainable mobility plan,” which aims to reduce daily car usage from 29% to 23% and Hamburg’s ‘gruenes netz’ (green network) project. In this perspective I have presented to the authorities Carbon Capture Island and Green Lungs in Maltese villages hoping they would serve as a spark. “

We touch on the current development boom Malta is experiencing. Colin believes that no civilisation progressed without development. “The legacy of Egyptian, Roman and Greek civilizations lies mainly in civil architecture . The time when development was absent, is regarded by historians as the dark ages. People flourishing build, thriving economies build; development is part of a civilisations’ natural growth.” However, he points out that there must be some element of balance between development and sustainability. “We need to be very careful not leave a concrete jungle. We must ensure a sustainable future for next generation. We need to emulate the sustainable mission other countries are investing in. Cases in point are Norway that

It is time to conclude yet before calling it a day, I ask Colin a final question regarding the future. He ends our conversation by noting that “I do not want to die a hero. My goal is not to be remembered in historical books but rather to work hard and ensure I have learnt as much as possible from this life. I want to retire early, travel and taste all the world offers in terms of architecture, food and wine. I want to go in the opposite direction always. Not out off spite. But out of vision.”

I ask him about Autumn to which he promptly declares that “unfortunately, it is a season we do not know about. It is that time of the year we usually only appreciate in films. We technically only have two seasons.”

Colin has bought residence in Rome as a first step towards reading a PHD in Ancient Roman Architecture particularly his old time friend the Pantheon.

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A Tile Tradition W

alking through a Maltese house of character or a core village townhouse, you will be immediately struck by the beautiful palette of colours and geometric shapes of traditional, patterned, Maltese cement tile. Each tile forms part of the nation’s unique, visual, architectural identity and encapsulates the deep amazing work of local craftsmanship.

One of the few craftsmen still pursuing such a profession is Robert Lia, director of Malta Tiles.

Robert is a stonemason by profession yet in 2012 he bought over a company which specializes in the manufacture of traditional handmade Maltese patterned tiles using the age old techniques, molds and designs. Working on his daily run of tiles which will shortly adorne a beautiful farmhouse in Zebbug, he notes that the profession is under threat or better in danger of extinction due to the stiff competition it faces from modern tiles and industrial manufactured patterned ceramic tiles yet there is still quite a demand for the authentic Maltese cement patterned tiles, especially for farmhouses yet is also often used in new modern houses.

Robert notes that his small enterprise uses traditional methods of producing hand-made tiles, a legacy he carries from previous generations. The process is laborious and time-consuming thus impinging on the market price which tends to be high. There is not much technology or machinery involved in the process as practically everything is done by hand. The process starts with a mixture of cement, marble dust and colour which blend perfectly together. The mixture comes to life with the aid of three fundamental tools; the mould, the square frame and the level. When each component plays its part the magic begins and simple ingredients turn into beautiful tiles. Robert points out that the same designs used 100 years ago are still in demand. The most common colours for Maltese tiles are green, red, black and grey. He proudly notes that his

workshop boasts over 180 patterned frames which offers his clients infinite options to make unique designed tiles ideal for floors, feature walls, spiral staircases and thresholds. Robert explains that each hand-made tile is thoroughly checked to make sure it meets the expectations of the home which will host such treasures. Robert adds, “we are also able to match the colour of your existing patterned tiles and plain tiles to replace damaged ones.” In case of replacements, he warns, “the colour will be very similar but can never be guaranteed to be a perfect match. This is impossible due to a number of factors.”

“For those opting for a personal touch, we can create a new mould for patterned tiles styled based on your unique design. This is subject to terms and conditions.”

Robert concludes our conversation by insisting on the need to protect such industry and on the need to create better awareness on the key role such tiles play in the character of any old Maltese home. “It is more than just a tile, it is part of our rich local culture and an integral component of Maltese architecture. Progress should never come to the detriment of those elements which distinguish Maltese identity from the rest.” It is indeed a pleasure to come across such treasures and is so encouraging to see that notwithstanding the challenges, companies like Malta Tiles still persist and have gradually developed their own niche in the industry.

Driving through Fgura, do stop by and consider the possibility of having a piece of local identity in your next home project.

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Embracing who we are and where we come from is the only way we can truly begin to design for ourselves.

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A Colourful Perspective Interview with Sabrina Soto, Design & DIY expert.

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ur homes are our most intimate spaces. They are where we unwind, entertain, grow up, find sanctuary and connect with the people closest to us.

We read books and magazines, browse the internet and above all, watch TV programmes for ideas to make our home as we really want it to be. There is something particular in Cuban-American lifestyle expert and TV star Sabrina Soto’s concepts which instantly grabs your attention. They are fresh, engaging and ensure interior

design is something we all can afford. It is with no coincidence that Sabrina Soto is one of the world’s most sought after lifestyle experts. From home décor and design, food, beauty and fashion, Sabrina covers it all. Her unique ability to curate in a variety of spaces, providing outlets for people with varying budgets, styles and personalities, truly sets her apart. Sabrina shared with us her inspirations, creative process, favourite projects and her plans for the coming months.

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How can a house be kept looking fresh without spending and changing a lot?

The easiest way is to recolour, keeping only things you need and get rid of things you do not need any any more.

You are known for loving all things that have colour, print or pattern. What attracts you to them?

My Latin American roots instinctively attract me to bold colours and traditional prints which are often a key theme in my collections and interior design projects. My design style is always full of pop, colour and heart!

Why is a DIY element so important in any house?

How does it make it stand out of the crowd?

It gives that unique touch which you will not find in any other house. It also gives your house that personal element which conveys your own character.

What inspires you?

When I am designing the interior of a house, I often refer to what I come across during my extensive travelling. However, in every project, I keep in mind the tastes and likes of the homeowner.

Where do you begin from when working on a house?

Most projects have a limited budget and tight schedule. I try to focus on the first floor. The first floor is where you get the first impression. By the time you get to the second floor, the person usually overlooks some things.

What is the major challenge in a project?

Definitely indecisiveness. I find it unsettling when a client is hesitant. But, it happens to be part of the job and it is my duty to provide enough information and inspiration to engender trust so that we can move forward with decisions.

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Would you opt for a formal or a comfortable home?

100% comfortable. No doubt about that!

How does autumn change your mood from a design point of view?

It is a cooler time of the year where I am keen to introduce more toned colours, heavier fabrics and chunky knit throws. I also opt for muskier scents during the autumn season.

What new trends should we look out for in the coming months?

We would expect a lot of metallic, gold and rose gold.

We will also note the use of more natural tones.

What are your plans for the future?

I will be introducing a new line of rugs and will launch a collection of furniture next year. I will also be involved in a new tv show next year.

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Who we are?

Inofin Projects is a leading local trunkey contracting company providing a full service to its clients. Our portfolio of services includes; construction and finishing. We also work closely with several collaborating partners so as to offer our clients a one stop shop service.

What does your one stop shop service consist of?

We handle projects from concept stage up to its final finishes. In the process, we help the client in all logistical, technical and operational matters thus providing support on sourcing of material and any other works required. We also work closely with other key entities so as to provide clients with architectural, design and project management support. We also provide standalone services.

What major projects are you currently working on?

Right now, we are working on a full Turnkey Project in Mqabba in collaboration with Chris Carabott DesignServices. This project is very particular as major construction works are being done whilst the client is still living in the house. The project includes various structural alterations as per images below.

Image 1. Rendering of proposed open plan for Mqabba project.

Image 2 Current works on Mqabba project which include opening of walls and other alterations.

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Home Sweet Home Interview with Andrea Castrignano, Interior Designer & Real Estate Consultant

I

t is hard not to stop and watch how Andrea Castrignano changes rooms into impressive habitable spaces. His work is chic, bold and functional yet with that unique sense of warmth which distinguishes a home from a house. It is with no coincidence that his famous TV programme, “Cambio Casa, Cambio Vita� is in its ninth year providing tips to its followers on how we all can be a little bit interior designers.

Notwithstanding a jam packed agenda, Andrea shared with us his journey in the world of interior design, his current projects and his plans for the future.

Photos credits Riccardo Lanfranchi

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How did your interest in interior design develop?

It developed from a very young age whilst playing with Lego blocks. I loved the idea of creating innovative concepts out a few blocks. Gradually my childhood interest developed into something more concrete and eventually evolved into my profession.

What is your idea of “home”?

I believe a home must represent you. It must spell your moods, your habits and your character.

Before creating my own design, I frequently meet with the client so as to know more about him and make sure his footprint is visible in the new layout.

I also believe a house must be functional thus accommodating the daily needs of the person or persons living in it.

Is there any particular style of furniture you are particularly fond of?

I am very fond of minimal baroque. It is a very clean style of furniture with a daring character and perfectly linear shapes freshened with unexpected baroque touches and a warm element.

Do you have any point of reference in the industry?

Gio Ponti. He was a master and such a source of inspiration.

What are your favourite colours ?

Violet and shades of grey.

What inspires you in a house?

Location is such a source of inspiration. I am also intrigued by the fact that every house has its very own soul which distinguishes it from the rest.

These two elements are key components for the development of any design concept.

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Let’s talk about your programme “Cambio Casa, Cambio Vita”. In what ways does it help its followers?

We are currently working on the ninth season. I speak in plural as the programme is a collective effort by all the team and its success is owed to every team member. We all want to renovate and we all want to give a particular touch to our home yet not everyone can afford a designer. The programme seeks to offer our audience a virtual advise for a better home. The concept has been well received by our audience and we are close to celebrating a decade of “Cambio Casa, Cambio Vita”.

In what way does the autumn season inspire you?

Autumn is not much of a muse to me. I am more of a spring person.

Which colours do you associate with the autumn season?

It is a time when shades of green and yellow take their toll. It is a time associated with Coral and natural wood colours.

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A change in a home is also a change in the life of the persons living in it.

Photos credits Riccardo Lanfranchi

What do you expect in the next years from the world of design?

Design will continue to evolve affecting each and one of us in one way or another. Its impact pretty much depends on the extent we let design come into our life.

What projects do you have in the pipeline?

We are looking at opportunities of how we can export the concept of “Cambio Casa, Cambio Vita�. I also wish to develop my own boutique hotel.

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How to Buy a

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Ryan Borg from Mattress Collection provides some advice on buying the right mattress.

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When visiting a mattress shop, lie down on the mattress for a good few minutes. Our bodies are not straight, our shoulders stick out as do our hips and the right mattress should take the shape of your body and not the other way around.

People also tend to spend a lot of money on their bedroom and then neglect the mattress. Ask yourself how much money you spent on your

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Look for benefits that are offered with your mattress such Long Guarantees, Free Delivery, Free Installation or a Free Sleep Trial. The Sleep Trial is probably one of the best add-ons you can get when buying a mattress as it gives you a chance to sleep on the mattress for a few weeks and then change it to a different model if you’re not happy or get your money back.

We offer the finest range of Memory Foam Mattresses made in Florence which are medically beneficial and certified by the health authorities.

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The Devil is in the Detail Interview with Chris Briffa,

Design Tutor at the University of Malta and Director at Chris Briffa Architects

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here is no doubt that Chris Briffa is one the best talents our country has ever produced. His work is scattered all across the island and includes the famous Hanging Home, the ‘Gallarija Miftuħa’ and the ‘Antiporta’ just to mention a few. Every piece of work produced by Chris is a work of art that highlights his class and mastery.

Whether for commercial,

residential, public or private purposes, Briffa’s vision flawlessly merges historical buildings and new spaces with a contemporary yet multifaceted language that integrates passive-energy design concerns with simplified elegance. Chris gladly accepted to meet over a coffee to share with us his views on architecture, his recent works and his future projects.

Photo credit Kris Micallef

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Photo credit David Zammit

Antiporta: A Fading Negotiation – installation at the Venice Architecture Biennale 2018 in collaboration with Andrew Borg Wirth, David Zammit and Maltadoors, supported by MAF and Valletta 2018.

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Gallarija Miftuħa - traditional Maltese artefact transformed into a contemporary mechanism.

Photo credit James Vernon

The Maltese gallarija is one of the vernacular architectural features which is slowly disappearing from the Maltese architectural landscape in the name of ‘progress’.

What is good architecture all about?

Architecture is a complex matter. It is as much about scale, proportion and choice of materials, as it is about shelter and light. Whether placed in the right context or otherwise, it speaks volumes of the society which creates it - often for centuries to come - a responsibility undeniably shared by architects, clients and policy makers alike. As Renzo Piano once said: Architecture is a very dangerous job. If a writer makes a bad book, people don’t read it. But if you make bad architecture, you impose ugliness on a place for a hundred years.

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Rooftop extension on Casa Ellul – A cladding of persjani hides the entire top floor, while hiding building services.

Photo credit Chris Briffa

What are the elements which mostly influence your designs?

I think that many factors are at play, both on conscious and subconscious levels. Ideas start budding after a client’s brief is applied to its site, or developed during our initial meetings while with colleagues and consultants; or, at times in the most relaxing moments on a beach or in the shower!

When developing a design concept, we tend to put low-energy and passive design high on the agenda, and as much as possible choose local trades and materials instead of foreign imports. Past experience and knowledge of working with local builders and craftsmen helps us shape plans and directions which ultimately persist from drawing board to site, with the least possible compromise.

How do you create a perfect balance between architecture, interiors and styling in your work?

Every project I embark on is the product of a number of people, and is a prototype in its own right. The critical issue lies in balancing the input from every

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individual to achieve the final product, and how to make sure that it is both buildable and sustainable long after the site works are complete. Beauty is in the eye of the beholder, and it often takes a leap of faith to trust the architect of your choice to sensitively deliver the assigned brief through good architecture.

Tell us about your famous Gallarija Miftuħa. Is it living up to its expectations?

The gallarija is one of the vernacular architectural features which is slowly disappearing from the Maltese architectural landscape. This traditional artefact had a specific purpose - giving its inhabitants the ability to see and not be seen - contained in a well-proportioned timber outfit which gave Maltese towns and villages their appeal.

Nowadays, we value natural light and views more than voyeuristic drives, and many clients opt to do away with the traditional one-metre-wide doorway to their gallarija and extend to the balcony’s full width, to let in more light. In cases where the

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gallarija faces a beautiful sea or country view, it is regarded as a hindrance and many prefer to have it knocked down or wait for it to disintegrate rather than restore it.

With the Gallarija Miftuħa, we have retained the original function and aesthetic of the traditional Maltese balcony, while endowing it with a valuable extra. Back then we were optimistic that our small invention can develop into a product that not only speaks of its time while respecting that of its elders, but also one whose functionality adds practicality to a dying inheritance. Today, it is a successful, patented product, which has sustained longer lifespan for many gallariji, most of them in Valletta or around the Grand Harbour.

What about the antiporta installation you recently put up at the Venice Biennale? Was it a progression from the Gallarija Miftuħa?

In some ways, it is a progression, yes. The antiporta is a much more complex article, though, which is why it requires more thought and research before one starts developing a contemporary counterpart.

It is a most beautiful artefact which, like the gallarija, is quickly disappearing locally, mostly due to fading community values in Maltese village life. Unlike the gallarija, however, the antiporta is unprotected by heritage groups (possibly because it is not considered external), and lacks an obvious necessity for its existence.

The installation we set up in Venice aims to firstly research and document various antiporti in their context, and secondly to raise awareness not only locally, but also overseas. By choosing an important platform such as the Venice Biennale, we have gathered momentum with local policy makers and artisans and we are now looking forward to stage the installation on our shores towards the end of 2018.

You have also designed the first boutique hotel in Valletta, which has since then become the talk of the town. Where do you see Valletta’s quest for ‘boutiqueness’ going, and is there room for more?

The term boutique typically means small and local, where sensitivity to context plays a critical role. The unique feeling of lodging in a Valletta townhouse with all the characteristics it offers is a unique experience, a challenge which can be easily disregarded to accommodate modern comforts and building services. It is only when client and architect understand the precious setting and work together to protect the old while enriching the new, that a truly successful rehabilitation can be achieved. It is unacceptable that a developer is allowed to split a sala nobile into two (or sometimes even four!!) rooms. It is also deplorable that the roofscape of Valletta is turning into a sea of water tanks and airconditioner units, simply because services are often an afterthought and typically plonked on the greatest part of the building: its breathtaking upper terrace!

There will always be room for more, however more architects need to strike that balance of delivering their brief while enlightening their clients in conservation values. More needs to be done by authorities in a city which aims for luxury and comfort but lacks basic infrastructure like public space, general cleanliness and organized city-management structures. Furthermore, in our beloved country, “less in more” is a notion that many overlook when trying to make their mark.

In what ways does autumn influence your mood?

Autumn is a wonderful time. The stifling heat is over, creative energy kicks back in and we look forward to cozy evenings at home with family and friends. It is also an interesting time from me to look back at the past year and evaluate what I have learnt and where I would like to go.

We are about to move in our new home, an apartment in Valletta sitting on top of my studio which has been on the drawing board for four years and on site for one… so this autumn will definitely a special one for all at home!

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The Creative Element Interview with Vera Sant Fournier,

Founder/Creative Director at Vera Sant Fournier- Interior Design Studio.

Give Vera Sant Fournier an empty room and in no time she will turn it into an explosion of colours and ideas. Many concur that she is one of the best interior designers in circulation with her amazing skills and unique approach often taking creativity to its extreme limits. Her genial mind is a treasure of ideas which often sees her think out of the box or even without the box. Her portfolio is impressive and includes everything from residential to commercial projects. We caught up with Vera to learn more about her passion for interior design, her philosophy and her upcoming projects.

Location - Lily Agius Gallery

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Photographer - Kris Micallef

Stylist - Arabella Hogg

Burberry trench - Model’s Own

Shirt Look Shirt - Dolce Gabbana Shirt Label Malta Trousers - Model’s own Watch - Girard-Perregaux, Laureato 34mm rose gold, diamond bezel with alligator strap - Edwards Lowell

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Dress Look Dress - Maje Belt - Burberry LABEL Malta Watch - Girard-Perregaux, Laureato 34mm rose gold, diamond bezel with alligator strap - Edwards Lowell

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In what way has your family artistic and creative roots determined your career path?

It was just a matter of time until I too delved into the creative sector. My father, Charles, was an art collector and had art galleries. From a very young age I would often accompany him to meet other artists who would practice their arts in many forms, in different mediums. Coming from an antique Noble family I was surrounded by collectibles passed on from generations and would often take much interest in the shapes, forms and materials such artefacts would be made from, what their use was and wonder how they withstood the test of time, whilst also appreciating the eclectic set up we had in my childhood home, our formal sitting room, I remember sitting in it for hours just gazing, day dreaming perhaps. The décor was an elegant regal one adorned with light fabrics and such objet d’art, perhaps this was a starting point of learning how to appreciate spaces, how to wonder about objects and all that was contained in the space I was in, how the décor made me feel. My grandmother, whom I am also named after, was Vera Vallone, she was a fine artist from Capri, Italy. My 18th birthday present was one of her sketches she had done at La Scuola di Bella Arti, the sketch is a fascinating piece to me, as simple as it may be it depicts a statuesque architectural detail in a three dimensional form made in the early 1900’s.

artists with my father when I was young would leave me in awe of my surroundings, to be more precise the feeling that space in time would give me. Different people, with different tastes, different décor, artefacts, eclecticism; I always admired the homes which were different, which were not part of the norm décor in the 90’s, where the inhabitants would make their space reflect who they were and what they loved. As my father had his meetings I would gaze and wonder, observe and absorb my surroundings. Travelling from a young age was also a key factor, how different families lives in different countries, how some would manage space saving for example. It was a sort of invention and solution driven passion, one which would make you think to not only figure out practical, but also beautiful ways of creating spaces.

In a recent interview, you pointed out that, “interior design is an evolved passion based on everything I grew up with, based on what my eyes absorbed over the years.” Can you elaborate?

As time passed, as I matured, all the experiences I had had from being a little girl, to a young adult I realized that all I had been exposed to in my younger years had left its mark on me. Visiting homes of clients or

What would you consider to be your signature style?

I have always highlighted the fact that an interior designer should not impose his or her personal taste and style. The duty of a designer is to extract the characters, lifestyles, wishes, dreams and needs of the clients. The true skill is when one reads a client and creates their spaces tailor made. But yes, there

A telier is a signature style which would be present, and it would be based on three factors, perfectly allocated colour schemes with well thought of layers of textures, uncluttered space and luxurious quality materials.

What is the most gratifying thing about being an interior designer?

The feeling I get when I see our clients move in. When I keep visiting them to see how they have settled in, what is the energy of the space, what can be done to improve or is everything simply working well as intended to maximize the function of the space. I personally love helping people create homes to my best sources and power. The sense of satisfaction I get together with my team when from a doodle, a sketch, a two dimensional plan and a photo realistic visual – you get to view your idea in form in the space serving its function. The very notion of thinking about something and having it created gives me an enormous feeling of self-satisfaction. That “thank

you�, when people recognize your hard work, eye for detail and ultimately when they appreciate that all your endeavors are ultimately for them.

You also recently noted that the only way forward for interior design is to green. Why? The awareness is now vast, people are conscious with the responsibility towards our world, rightly so. My five year old daughter is raised to collect plastic which comes along her path on the beach. Construction alone is a major contributor to the waste industry, endless plastic packing, cardboard boxes, Co2. We have plans to give preference to working with suppliers who support waste management, have reduced Co2 products and paints who guarantee recycling and the likes. The concept is alive, the implementation will follow. We have already been using clay based paints for a number of years now, purely because they are natural based with no violate organic compounds.

Such paints for example are actually quite fitting for

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humidity and thus are also an ideal product to use for walls. It all starts with more education on what is available for use in the market and guiding the client in the right direction. Following the compulsory energy performance certification and the moral obligation enforcing the idea to go green and or / be greener to your available resources is now just a matter of time, others will follow.

Is there a real culture which promotes the concept of sustainability?

“Culture can be intangible, and when something is hard to define, it’s hard to address, improve, or measure.” – The awareness is alive, the shift will happen, how fast I do not know. How readily are companies willing to engage sustainability experts to help them achieve their environmental goals is somewhat a new concept too. I do not believe it will be new for too long and one small step can create a ripple effect. I suppose it all starts with the idea which will eventually be made into motion.

How do you juggle such a busy work agenda and your family life?

Sometimes I ask myself the same question, joking apart; there have been instances where insensitive and somewhat perhaps ignorant comments have been passed. The truth of the matter is this, myself as a parent, and I am sure other mothers who have their own career, their own business, who perhaps are also single mothers would agree with me that the kids do indeed come first, and any polite client or supplier would understand and respect this. The work life balance has to be carefully calculated, there is also ‘me’ time, this is a time I believe we all have a right to, to grow and nurture ourselves and who we are as individuals. I suppose that over the years I have managed to master organizing the family and I must also mention that a supportive loving partner

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who believes in you and what you do is also part of finding balance in this fast paced lifestyle most of us have as a norm. I believe that a point one has to stop, reflect that at the end of the day what are the things that matters,. This is also self-respect; to find the balance to the sales of work and life.

How does autumn fit into your interior design agenda?

Although being a sun worshipper and lover of summer, I must admit, I am a fan of the warmer days too, the fashion, boots and jackets especially, the weather, the lower temperatures which make us want to cook warmer hearty dishes and have cozy family nights in. The change of my home décor comes seasonal too, the colour scheme becomes adorned with warmer tones, the sofa gets its throws and the bedroom gets the seasonal look change of bedding. Heavy fabrics such as tweeds, corduroys and wool will also give you that seasonal snuggly feel that comes with autumn. Colours such as orange, browns, plum and red can make the room compact, more inviting and warmer, while natural tones and textured prints will deliver that coziness. Such a room or a conservatory would be my ideal space to sip my tea in autumn, not excluding plenty of natural light.

What’s next for Vera Sant Fournier?

The studio will have a shift, we see the opening of our extended luxury home boutique. We are taking our projects overseas, with non-European countries being on the list. We would also like to start the implementation of researching suppliers with a more ecological approach to the construction and design sector. I will be attending the Venice Biennale.

The team is growing, the brand is evolving yet again with the celebration of our tenth year in operation. I must admit we are always up to something.

ARMILLAS collection

Il-Festival

Nazzjonali tal-Ktieb www.ktieb.org.mt

Ċentru tal-Konferenzi Dar il-MeDiterran, Valletta

7 – 11 ta’ novembru • 2018