Atelier (Issue 02)

A telier A Wintry Mood

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Editorial

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Note

elcome to the second edition of Atelier which coincides with the busy festive season. Every street, every house and every corner glows with luminescent stars and other decorations which sets the tone for the festive season. Every shop proudly displays its new collections

which inevitably attract the attention of all passers by. We are busy buying gifts for our loved

ones and often forget that this time of the year is also about inner feelings. Indeed, the festive season should also be about happiness and tranquility. It is also about being in the company of friends, relatives and loved ones. Above all, the festive season should reserve no boundaries and is an opportunity for all, irrespective of race, gender or societal background.

The Atelier winter edition seeks to look at the festive season from various angles and from the eyes of different people from different segments of society. Thus, Atelier provides a 360 degrees perspective by looking into the life of leading local and international exponents of culture, fashion, beauty and photography.

A Happy Christmas and a Happy New Year to you all!

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

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.

Ryan Bezzina - design@unionprint.com.mt Front image: Courtesy of

Photography & hair - Pierre Camilleri Styling - Carina Camilleri Model - Eve at Models M Back image: Courtesy of Francesca Pace - Gaia & Nina

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Photos: We thank all contributers for providing photos and images.

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Design & Architecture 14 22

Kelly Hoppen Antonio Belvedere

30 38

Federico Delrosso Matteo Thun

48 Ian Critien and Andrea Vassallo Cesareo 58 camilleriparismode

Fashion 76 84 96 102 110

Anthony Lindsay Carina Camilleri Alberto Bevilacqua Josef Gauci Bjorn Borg

Beauty 122 128 138

Andy Lecompte Ted Gibson Diane Nikolic

Society 152 163

Ira Losco Kenneth Zammit Tabona

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Karly May Naudi

Photography 178 186

Kris Micallef Alessandro Dal Buoni

MUZA

In the big picture, architecture is the art and science of making sure that our cities and buildings fit with the way we want to live our lives.

Bjarke Ingels 12

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DESIGN ARCHITECTURE 13

A Touch of Class Interview with Kelly Hoppen

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elly Hoppen MBE is considered by many critics as the queen of interior design.

Her work is brilliant, chic and conveys her incredible talent in transforming empty spaces into a work of art. Kelly Hoppen has over the past decades developed into something huge with countless books, a design school, furniture and fashion ranges, and even her own app.

Kelly Hoppen shared with Atelier her journey in the world of interior design, her perspective of the industry and her projects for the future.

Photo credit Nick Haddow

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A telier

Where do you look for design inspiration?

Inspiration is a daily find for me, it could be walking down the streets of London, in my design studio, listening to music at home – pretty much anything.

Travel is the biggest inspiration for me though, you are always more relaxed when on holiday which allows room in your brain for creativity and inspiration to take over. The people, the cultures, the colours, the smell, just the entire atmosphere is enough to inspire anyone.

What does taupe mean to you?

My colour scheme is always neutral. I use a lot of whites, greys, beiges and taupe is my absolute favourite! I find these colours incredibly soothing and harmonious and they are the perfect base to any design. When adopting a neutral palette, you can add beautiful splashes of colour that will instantly brighten up any interior. Trends fade but you want your designs to stand the test of time and always look chic which is why I stick to timeless luxury.

It all started at the age of 16 out of passion for design. What did you find so attractive in design?

As a child, my mother said I was constantly shifting furniture around our home and displaying everything at its best. I also had a passion for looking around show houses as it was a great opportunity to see design in action, as well as visualising how the designers expect their clients to live within the space.

This has now evolved from being a hobby to part of my lifestyle.

How would you describe your design style?

I would describe my style as ‘timeless elegance’ meaning that the design will stand the test of time, will not date and will always look chic, simple yet opulent combining the styles of the Eastern and Western world together.

What makes your homier Notting Hill such a special place to be?

Notting Hill is my favourite area. It is so unique and has lots of small shops, which I am a big fan of as it is so important to support small businesses. It is always inspiring just walking to my studio through Notting Hill. It is a really eclectic area, with Portobello Road antiques market being one of my favourite spots. It’s there that the Interiors team is based as well as my shop ‘The Yard’ and also ‘The Kelly Hoppen Design School’.

What makes people such a source of inspiration?

I love soaking up different cultures. Travel is the biggest inspiration for me though, you are always more relaxed when on holiday which allows room in your brain for creativity and inspiration to take over.

The people, the cultures, the colours, the smell, just the entire atmosphere is enough to inspire anyone.

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A telier

You are a big supporter of British business. What makes the British brand stand out of the crowd?

Kelly Hoppen Interiors does not let people down as we will always deliver the results my clients want.

Our design is always evolving all the time which is important. I use the absolute best materials and teams to make my furniture, and each collection is a testament to my aesthetic belief in using modern clean lines but combining them with an eastern design philosophy. My style is timeless and that is the sense that I create within every single project that I take on.

In a recent interview you commented, “I think the biggest challenge I have had to face is being a woman in business as it can be a very harsh world out there.” Can you elaborate?

Women so often have to work harder than men in business, as sadly, most women tend to be underestimated. Some skills may be overlooked due to their sex and this isn’t fair. I think our sensitivity, instincts and ability to communicate and listen serves us well in business. Confidence is always key and something which a lot of women lack in the business area and I think it’s something we need to work together to overcome.

How does the festive season inspire your creativity?

I love decorating my home around the holidays.

Placing Christmas trinkets on the fireplace mantel, garlands or home jewellery to really adorn the space to create a warm holiday feel.

What should we expect from Kelly Hoppen in the months to come?

So much is happening and so much will be announced in the upcoming months! I have very big plans shortly and exciting upcoming collaborations.

I am most excited about the announcement of the launch of The Kelly Hoppen International Design Awards! The awards will take place during Design Shanghai in March 2019. It never slows down and at Kelly Hoppen we are looking very forward to the future!

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Photo credit Ph. Enrico Cano

The various shades of Architecture Interview with Antonio Belvedere, Partner at RPBW - Renzo Piano Building Workshop

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A telier

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ntonio Belvedere is widely acknowledged as one of the best talents Italy has ever produced.

His work conveys his geniality and ability to develop works of art which keep in mind the history, culture and above all, the context they are in. Nothing is left to chance and every detail has a specific role to play. Born in 1969, Antonio Belvedere graduated in architecture from the University of Florence. He joined RPBW’s Paris office in 1999, working on phase three of the Fiat Lingotto factory conversion project, particularly on the design of the Polytechnic and the Pinacoteca Agnelli. He was subsequently involved on the masterplan for Columbia University’s Manhattanville development in New York. Following promotion to Associate in 2004, he worked on the masterplan for the ex- Falck area in Milan. He became a Partner in 2011. Recently completed projects include the Valletta City

Gate in Malta and the City Center, also Bishop Ranch project in San Ramon, California, which opened to the public the 8th of November.

He is now leading the design of the V-A-C Foundation project in Moscow, the reconversion of a former power station into a space for contemporary culture, as well as the design for the New Toronto Courthouse. Most recently he is in charge of the design of the Science Gateway project at the CERN in Geneva. He has also lectured widely. Some of his most recent lectures include EASA Links (European Architecture Student Assembly) in Malta, August 2015 and “Stone and Architecture” at SIPPA (Salon International Professionnels du Patrimoine) Arles, France in May 2015. Atelier recently spoke to Antonio Belvedere on his works, his philosophy about architecture and his perspective about the industry.

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A telier

What is architecture for you ?

Architecture is a big word. It is the art of building, the art of listening to people and the art of looking at a project from different perspectives as well as the state of society at a certain moment. Architecture has the power to influence the evolution of society and thus, every architect is called to have a good knowledge of society’s expectations, a good notion of technology, a good grasp of culture and all that without falling into rhetoric or stylistic temptations.

How do time and history come into the embrace of architecture?

You don’t design an iconic building, it becomes iconic once it passes a process of societal acceptation.

The integration of any building within any society very much depends on the foundations the building was conceived on, which should take into account its functionality, its role in society, its interface with the town or city, and how it relates to life. It also needs to take into account the environment in which it is set. Great buildings such as the Pantheon are timeless and have a historical value today as they were built on specific foundations. When developing the project of the Parliament building in Malta, the big question we had to address was how to anchor a contemporary building in a specific historical setting. A building has to be part of the history but also has to reflect modernity. In order to reach such compromise, we selected a specific stone which offered us a common language with the history and culture of Valletta, whilst the most advanced technologies were employed to give it the shape. Is the Parliament building in Malta timeless? That is something I cannot answer and only time will tell.

Photo credit © RPBW

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Photo credit Ph. Enrico Cano

How do you achieve a successful compromise between development and sustainability?

Every project needs to start from its context, thus the environment in which it will be set. A project also needs to take into account the resources, in particular the local resources. Both elements are fundamental to create a solid basis for any architectural project. Once both factors are acknowledged, the architecture becomes a result of the link between local resources, its surroundings

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and the architect’s concept. When working on the Parliament in Malta, we started from the stone blocks, carved in a quarry in Qala, Gozo, specifically opened for the project. The stone blocks were cut vertically so as to accentuate and follow the sun paths. Indeed, the Parliament buildings have been constructed to be 100% carbon neutral during the winter, and 80% carbon neutral in the summer. We calculated the exact angle of sunlight in Valletta throughout the year, and the shape of the

A telier

stone facings block the sunlight from entering the structure, while still providing incredible light in the interior. Architecture is a result of a research on environment, permeability, values, history, society and culture which are then elaborated by an architect.

Is there any specific project close to your heart?

I must say this is quite a tricky question. We work on a vast range of projects from public and institutional to commercial. Every project has a story and we

are in love of all our projects. The ultimate success of our work lies in the building’s ability to perfectly integrate in its surrounding environment. The Valletta City Gate is a perfect example of that. We are currently transforming a former power station into a space for culture in Moscow. The main goal in such project is to preserve the factory feel which no longer produces energy but ideas. When such goal is achieved, the project can be considered to be a success, which touches your heart.

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Darmanin - Desireee half page - 170mm x 120mm - print.indd 1

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05/12/2018 16:34

A telier Photo credit © RPBW, ph. Stefano Goldberg

Do people today have a better appreciation of architecture?

It is a complicated question which necessitates a complicated answer. The required answer depends on a number of factors which change from place to place. If we take the case of Malta, the whole debate on the Parliament project was conditioned by political factors which conditioned the ultimate judgement of many. Time is also a key player on how people appreciate architecture. Some values are not immediate and take time to be understood and accepted. However, once accepted it will last forever.

What legacy do you want to leave from an architectural point of view?

Architecture must have as its ultimate goal the interest of the community at large and not personal interest or vain. My work, coherently with RPBW philosophy, always seeks to help society evolve.

Environmentally sustainable places where people can meet.

Does winter have any impact on your mood?

I was born in Calabria, a place associated with sea and sun and thus the winter feel is something I am not accustomed to. That makes curiously winter “exotic” to me. Cold, snow, and dull weather have a special effect on my mood and serve as a source of inspiration. The grey skies, the snow, the sharp sunlight in a cold winter in Moscow and Toronto offer a different perspective of light and shades which serve as a muse for new ideas.

What’s in the pipeline for Antonio Belvedere?

I have just been in San Francisco for the opening of the new City Center Bishop Ranch, a project inspired by the layout of cities in Italy, where central piazzas serve as public gathering spaces. It is a multifaceted project that combines retail, entertainment, dining, culture, and special events. I am then heading to Toronto for the beginning of the construction site of the New Courthouse which was sculpted from the urban fabric into which it is placed. The project of the CERN’s new science gateway, will definitely be an extraordinary journey where architecture meets science.

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Pushing the Boundaries Interview with FEDERICO DELROSSO

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ederico Delrosso is considered by many critics as one of the best architects Italy has produced over the past decades. Delrosso is an award-winning professional whose linearity and rationality often dictate his formal solutions yet emotion and innovation rule his choices in materials and finishings, which give form to his projects. For Delrosso, architecture is a coherent blend of detail, quality, attentiveness to nature and its organic elements as well as respect for the historic quality of the buildings being renovated and/or restructured.

His work is thus characterized by a formal elegance that is free of excesses and accentuated by a precise and experimental use of materials, which include unexpected combinations. Delrosso shared with Atelier his architectural perspective, his inspirations and his upcoming projects.

Photo credit Matteo Piazza

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A telier

What makes a Formula 3 racer shift towards the world of architecture?

I practiced the sport, yet in parallel started studying architecture. Formula 3 continues to be my passion and hobby. It instigates in me the element of emotion and limits. It also developed in me that strong element of risk. I found great parallelism between them. It inspired me to push my work to the limits thus taking my work to another level.

I recently read that during your time at your grandfather’s workshop you discovered all kinds of things - solitude, being with animals and nature, adventure, independence and freedom. How did such a holistic experience help you in your career and personal life?

I would often admire the work of my father, a surveyor, and grandfather, a millworker. My decision to become an architect, was based on the great amount of time I spent helping out in their workshops—an experience that ignited my passion for construction and design at a very young age.

Indeed, my childhood fostered a great sense of play, because ‘playing’ meant building things.

Describe your design philosophy and ultimate professional goal.

When I am asked what I believe in, I say that I believe in architecture having the power to give spaces soul. What makes design special is the alchemy that emerges between the space, those who inhabit it, and the designer. Architecture can elevate the spirit of a place. My design style is very clean and clear, and not too “minimal.” I also love empty spaces. I like to work with fewer materials, such as concrete, wood, iron, and stone, and focus on natural finishings where everything is integrated with natural light.

Photo credit Adrian Wilson

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Photo credit Matteo Piazza

You work on the belief that architecture must develop from the outside to the interior of a home or space. Why? Architecture is a living organism which has both an external and internal element. We should not limit to looking at both sides individually but rather identify what connects them. Windows, doors and other apertures are the link between the two elements.

The interiors and exteriors of my architectures often share a relationship mediated by large windows that detract materials to facilitate luminous spaces. Be it natural or artificial, light becomes an essential architectural element constantly used to build space and, especially, to create ambiences and evoke feelings and emotion.We need to look at concept from a 360 degrees perspective to be complete, like a human body.

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Tell us about your monograph “Pushing the Boundaries.”

“Pushing the Boundaries” is a metaphor for my approach to everything that I do. It means constantly seeking that special thrill you feel when you break new ground and overcome your limitations. I think this urge comes from my passion for racing.

In what way does travelling inspire you?

I am inspired when I am travelling—walking in cities like New York, Istanbul and Milan, or simply driving. I store in my mind what I see and when I get immersed in a new project, draw out inspiration from what I have seen and start designing. I believe in following your gut instinct. When you are looking for inspirations your mind automatically triggers an inner search to seek inspirations. In this process, eyes play a key role since they are the window through which we zoom and identify elements which inspire our work.

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In a recent interview you commented, "I design to bring out the “soul” of architecture." Can you elaborate?

I try to develop projects which have a clear identity.

The identity I am referring to is of the architecture itself and not of the people who live in it. Indeed architecture has autonomous identity as in time architecture remains, yet the people inhabiting it change.

What sets your firm apart from other design and architecture companies?

We design for those who share our philosophy of luxury. For me, it’s not about using expensive materials or following trends. Luxury is the feeling of being somewhere else without feeling isolated. We believe in creating private spaces that exude a sense of intimacy with the surrounding of people, cities, and nature. We collaborate with clients and artists, iterating ideas until we are confident that we’ve created a space that captures emotion and tranquility.

A space must have its own soul.

What does winter mean to you from an architectural point of view?

Seasons do not have any particular effect on my work since my inspiration relies more on the work I am following. Nevertheless, I like the energy snow gives me. I love the idea of isolation. During the winter season I am more at home and thus have more time to reflect. On the other hand, the summer season is more distractive.

What's next for Federico Delrosso?

It is hard to tell. I will definitely be working on new projects. I am interested to learn more about new cultures and to identify new elements which can inspire new projects I will work on.

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Entrée JW Marriott Venice Resort & Spa

Our approach of ‘Zero Design’ or ‘no design’ – whatever you want to call it – is related to our desire to guarantee a maximised life cycle for the furniture we design.

Matteo Thun

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When Less is More A profile of a visionary and a genius - Matteo Thun

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he famous Canadian born architect, Frank Gehry, once noted that, "Architecture has always been a very idealistic profession. It's about making the world a better place, and it works over the generations because people go on vacation and they look for it." One of the major contributors to the creation of a better world is definitely the leading Italian born architect and designer, Matteo Thun.

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Church, JW Marriott Venice Resort & Spa

Born in Bolzano in 1952, Matteo Thun is considered to be one of Europe’s best known hospitality architects, and over the past 20 years has worked on celebrated projects and masterplans including the award-winning JW Marriot Resort & Spa in Venice. Together with Spanish designer Antonio Rodriguez, he leads Matteo Thun & Partners. His work is bold, impressive and projects

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his forward looking vision. Thun studied at the Salzburg Academy under the supervision of Oskar Kokoschka. He then obtained a degree in architecture in Florence, Italy, in 1975. In 1978 he moved to Milan, starting to work with Ettore Sottsass. In 1981, he was one of the co-founders of the Memphis Group, a design movement that helped shape form and style throughout the 1980s. The following year,

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His early steps in the world of architecture did not go unnoticed and in 2001, the 'Side Hotel' he designed in Hamburg was selected as "Hotel of the Year". In 2004, the 'Vigilius Mountain Resort' won the Wallpaper Design Award while in 2005 the 'Radisson SAS' in Frankfurt became the "Best Hotel opened in the Year" in the Worldwide Hospitality Awards. In December of 2004, Matteo Thun was chosen for the "Interior Hall of Fame" in New York. He has also become a member of the Royal Association of British Architects (RIBA). In recent years Thun continued to add to his long list of awards with the recent ICFF New York, Editors' Award - Fantini Nice and the iF Product Design Award – Axent One Shower Toilet + Axent Primus tankless toilet won in 2017. he was appointed the chair in product design and ceramics by the University of Applied Arts Vienna. In 1984, he founded his Studio, in Milan, Italy. Between 1990 and 1993, he worked as the Creative Director at Swatch. In 1984 he opened his own studio in Milan (DOUBLE), where in 2001 he founded Matteo Thun & Partners, which develops product design and architecture projects from small to large scale.

His architectural and design imprint is visible all across the globe. When recently asked to mention one of his favourite projects though, he opts for the design of the Illy espresso cup in 1992, which has become the most copied espresso cup in the world.

He noted that, "This little cup stands for everything I strive for: subtraction versus addition, functionality versus levity."

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EntrĂŠe Waldhotel Health and Medical Excellence, BĂźrgenstock Resort Andrea Garuti, Matteo Thun + Partners

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A telier

Spa Vigilius Mountain Resort

His architectural credo is pretty straight forward; "Do it! But whatever you do, do it as simple and reduced as possible." This precept is reflected in his firm's attitude on the market. Indeed, Matteo Thun + Partners, is a multicultural architecture and design studio with headquarters in Milan and subsidiaries in Shanghai. The company acts on an international level and develops projects from hospitality and residential, headquarters, retail and urban design as well as masterplanning since 1980.

A profound respect for the soul of the place and a sensitive approach to the brand’s individuality is key for the teams of 70 architects, interior designers, product and graphic designers who work from

micro to macro, are interdisciplinary and highly qualified in the management of complex projects.

The firms work focuses on 'Zero Design'. In a recent interview, Thun noted that the main qualities of Zero Design are simplicity, a sense of lightness and durability. "In all our work – whether it’s a building, a table, or something else – we create things that people can understand and use intuitively. It’s almost a subconscious reaction: we try to create timeless icons." He also added that, "Our approach of ‘Zero Design’ or ‘no design’ – whatever you want to call it – is related to our desire to guarantee a maximised life cycle for the furniture we design. We want a longer life cycle for every product, even if it

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Flagshipstore Zwilling, Shanghai Dirk Weiblen, ZWILLING

means business is slower for the furniture, fixtures and equipment suppliers, because durability is sustainability.

Maintaining a sensitive approach to the client’s vision, the studio believes in trust and longterm relationships. Seeking change without giving up traditional values, the teams operate in line with the industry’s trends. Authentic creativity and the constant search for technologically innovative solutions are as important as the experience in dealing with flexible budgets. Specializing in various segments of hospitality, with a particular focus on luxury hotel projects and residences

with character, Matteo Thun + Partners provides customized and turnkey concepts including architecture, interiors and lighting concepts. The work of the company is based on aesthetic and technological durability with a strong belief on healthy living. The guest and his wellbeing are at the core of Matteo Thun & Partners projects. This also determines the studio’s healthcare projects where the relationship between patients and their physical environment is the point of departure.

Matteo Thun + Partners’ architecture and interior design is the result of a deep dialogue between the client’s prospect, the location, its residents and its culture.

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Who we are?

Inofin Projects is a leading local turnkey 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 Design Services. 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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When Great Minds Come Together Interview with Ian Critien and Andrea Vassallo Cesareo, Directors of CVCarchitecture Studio

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ome people come together out of necessity or an opportunity whilst others join forces in view of an underlying friendship between two persons who come across each other in the journey of life. In the case of Ian Critien and Andrea Vassallo Cesareo the purpose of their coming together is a bit of both. It started from a very young age or as better placed by Ian, "From when we could talk." At some point though, life calls them to pursue their journey separately up to their years at University, following which though, destiny calls them to meet again and pursue their next steps together.

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Andrea notes that their coming together was a natural process, "we are in sync. We do not try to be, we are! It is a chemistry which works."

Although being inseparable, they are different in character, approach and style. Andrea is a very reserved person. He measures his words and every intervention from his end is short yet straight to the point. No word is too little or too much but rather specific and hits the nail on the head. His shrewdness, charisma and deep thinking reminds me of his late father Attilio, who I had the pleasure to know, whilst his approach shifts closer to that of his mother, Monica. His outer crust is illusive

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and hides a very bubbly and colourful mind which comes to action each time a project comes in. On the other hand, Ian is a leader driven by a strong determination to reach his preset goals. He is frank, outspoken and above all, a doer. His ideas are innovative, and often outside the box. When he embarks on a project, he unleashes his creative mind which brings to the drawing board jaw dropping concepts which impress for the level of detail and precision. Together, these two great minds create a perfect partnership which over the years has developed several high level projects both on a residential and commercial level.

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It is said that architecture is one of the loneliest professions in the world yet this does not seem to be the case with Ian and Andrea. Ian points out that, "In this partnership, solitude does not really exist. Every action is a collective effort driven by a collaboration of idea which are brought to the table, discussed and finally implemented." Indeed, the element of solitude in this partnership has been reduced to a minimal level through their special bond. "I would find it very hard to be in this industry and be alone to carry all the responsibility. The liability-sharing element gives you that necessary push to move on.'

They both quickly clarify that a dose of me time is

still necessary so as to think separately and come together to confront ideas.

The partnership was set up in January 2011 and since then they have developed numerous leading residential and corporate projects. Their work ranges from giving life to old places up to the development of a new space. In every case, their concepts are amazing and confirms their reputation on the market as one of the best talents the industry has produced over the past years. It comes by no coincidence their recent nomination for the EU Prize for Contemporary Architecture - Mies van der Photo credit Sean Mallia

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Rohe. Award with their project HOUSE 59 which was the Premju Galizia 2018 President's Award Winner & Quality Architecture Award Winner.

We touch on their style which they note is mainly driven by context. Context, in their case, is not only in form but also in the materials, texture and other key elements involved in any project. "We try to achieve the full potential of any project by focussing on a sense of simplicity in the forms and function of what we are designing. We are not the type to add something just to decorate. Everything must create a healthy balance between functionality and aesthetics." We also touch on what they consider to be their best projects to which they admit to have quite a few favourites yet they focus on their award winners. "Ursolino involved the conversion of a townhouse into a guesthouse and House 59 consisted in the construction of a new villa in San Pawl tat-Targa. They both involved a lot of work yet in different ways." They point out, that every project heavily depends on the client. "An open minded client is critical for the development of a great project."

We inevitably touch on Malta’s architecture. They note that the recent economic boom has ignited the development sector. However, the current boom has also its dark side. "The industry is running at a very fast pace possibly even a little bit too much. If not well controlled, Malta will have serious problems in the very near future. The current pace is not well supported by updated regulations which is a serious matter. We also need to rethink our approach towards Urban Conservation Areas. Moreover, the country requires better infrastructure. planning. Let us keep in mind that infrastructure is everything."

We focus our conversation on Valletta where they

both note that our capital city offers a myriad of opportunities to develop further yet they stress on the need to cross the line and over-commercialize.

They feel, the same applies to the various core villages spread across Malta and Gozo. "Some places converted just for the sake of a quick buck which should not be the case. Valletta is currently experiencing a Renaissance which is what our capital city deserves yet we need to be very careful not to turn it into a jungle. Certain UCAs deserve a much higher protection. There must be a sense of smoothening out in our development process."

I bluntly ask them whether they would recommend such profession to their children.

Silence prevails; yet after a short pause they both note that, "when you have a particular project, when you work hard on it and you finally see the end result, it certainly gives you that sense of satisfaction, Yet today, our profession is grossly undervalued and under-appreciated which makes it frustrating and hard to work. I hope that when our children are our age we are in a position to recommend the profession."

I is it time to conclude and I feel it is pertinent to ask them a final question on what legacy do they wish to leave. They note that they do not have any aspirations to become stars in the industry. Their main objective is to ensure that every project they develop serves its purpose. "Our mission is to create or develop buildings which have a purpose for the client and for its environment. Andrea concludes by referring to the famous Norman Foster; "“As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown.�

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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 48255

Focus on weight loss surgery Why it works when diets fail

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eight loss surgery has emerged as one of the most effective treatments in modern medicine. This bold claim is not arbitrary. Numerous studies have detailed undeniable clinical evidence showing weight loss surgery’s ability to attenuate and reverse the devastating effects obesity can have on quality of life and health.

The vast majority of obese patients we see at St Thomas Hospital have tried - and failed - curbing their weight through dieting for years, often not managing to keep a steady healthy weight for a meaningful time. Willpower would not necessarily be lacking, which suggests that something else would be at play.

The truth of the matter is that the root cause of obesity is multi-factorial and generally it cannot be pinned to one factor alone. For a large part of the population the causes are simply attributed to bad diet and lack of exercise, but obesity itself

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brings a different set of considerations rather than just diet alone.

Genetics play an important role, with many patients reporting the existence of a family history of obesity.

Environmental factors such as socio-economic realities exacerbate these genetic predispositions and medicines such as anti-depressants - which are often prescribed to patients suffering from obesity - tend to fuel the vicious weight gain cycle further.

But a person who has been battling obesity for years also develops resistance against weight loss itself. The obese body defends itself against weight-loss by reducing its metabolic rate, making it increasingly difficult to loose weight over time during dieting. Oftentimes, the precious weight lost in the course of years of dieting is regained within a couple of

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months. This phenomenon is generally not seen after weight loss surgery which changes the structure of the digestive tract.

Over time, the results of weight-loss surgery have been remarkable: In a recent study which assessed patients from 5 to 25 years after undergoing weight-loss surgery, significant improvements to the patient health and quality of life were recorded. Patients who underwent weight-loss surgery fared significantly better and noted remarkable improvements in physical and mental health compared to persons who did not undergo surgery. The study noted that bariatric surgery subjects reported less problems of pain, mobility, anxiety and depression and had better social interactions.

The medical benefits reaped from surgically induced weighloss are equally remarkable. Studies have shown that metabolic surgery’s efficacy in reducing weight leads to reductions in blood pressure, blood sugar levels, cholesterol and cures sleep apnea. And although the surgery cannot be said to cure type II diabetes, it forces the disease into remission, slowing or preventing life threatening damage caused to the heart, kidneys, blood vessels and the nervous system.

As with any weight-loss measure, the success thereof depends not only on the amount of weight lost but also on the intervention’s ability to hold off that weight for a meaningful time, preferably permanently. In an 10 year follow up study of 1700 patients who underwent gastric bypass, researchers showed that only 3.4% returned to within 5% of their original weight a decade after surgery. Most notably, 70% of patients lost 20% of their weight 10 years post-surgery and about 40% of patients had lost and maintained a 30% reduction in weight

during the same period.When it comes to the surgical options available, the most popular choices are the gastric sleeve and the gastric bypass techniques. The latter, results in greater weight loss after 10 years than the gastric sleeve procedure. Although both techniques reduce the size of the stomach, gastric bypass is also associated with the treatment of type II diabetes, which gastric sleeve does not treat effectively. No matter which technique is used, the safety of the procedure has improved significantly in the last 10 years and the risk is comparable to common surgeries such as gall bladder removal. Given the confidence surgeons have in the procedures and their well documented safety track record, the surgeries are now being performed on wider classes of individuals whose obesity is less severe. The typical candidate for metabolic surgery holds a BMI ( Body Mass Index ) of 40 or over.However patients with a BMI of 35 and in some cases even less and who suffer from metabolic diseases such as type II diabetes are now being treated with weight loss surgery.

Given the epidemic proportions of people suffering from obesity, the access to weight-loss procedures is increasing, as more and more people are becoming aware of the benefits such procedures bring on their quality of life and health. The growing trend of adopting a proactive approach to treating weight-loss surgery to prevent obesity related diseases rather than treating them once their symptoms become pronounced and difficult to treat, is leading to more people opting for surgery to reap longer lasting benefits and a healthier and happier life.

For more information on weight-loss surgery and other obesity treatments contact St Thomas Hospital on 21 482 482 and get in touch with our obesity surgeons.

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The StorY Behind a Name Interview with camilleriparismode

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amilleriparismode is one of Malta’s most sought after names, featuring a vast selection of beautiful, handpicked items for homes and lifestyles. The brand has over the past decades developed into a beacon of class offering an unparalleled collection of beautiful items which range from bone-china crockery to the highestgrade fabrics up to their own furniture designs and fine whiskey sourced from all over the world. The Camilleri family shares with Atelier the story behind the brand, the key elements which makes the brand stand out of the crowd and their plans for the future.

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I recently read that the name camilleriparismode was chosen to highlight the fact that the French capital was the height of glamour in the 1920s. Can you elaborate further?

Quality and beauty have always been part of the company’s ethos. Since its inception in 1890, camilleriparismode has always strived to source and provide the best products around, especially from Paris. The name was meant to convey the Années folles (“crazy years” in French) a term coined to describe the rich social, artistic, and cultural collaborations of the period. Paris was seen as the example to follow in terms of style, class and charm.

We remain dedicated to providing an increased number of quality services, and to offering the latest in cutting-edge products from around the world.

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What makes camilleriparismode stand out of the crowd?

Passion is clearly injected into everything at camilleriparismode. We believe it is that passion that really sets us apart. We never rest on our laurels – I constantly travelling to source the latest trends, and continuously change the shops around so as to best showcase our products. Nothing is too much trouble and we sometimes call ourselves camilleriparismad – because there’s literally nothing that we wouldn’t do to provide our clients with absolutely the best!

I was struck by a comment made in a recent interview that “Each product at camilleriparismode tells our history, promises our passion and is something we believe will maintain its elegance and style for many years to come.”

Why?

So much thought and work goes into every decision that is taken at camilleriparismode - from the strategies, purchasing, even to what music is playing at our shops! It is that attention to detail that comes from the discipline passed on by our predecessors which is something we still maintain to this day and is upheld by the fifth generation management.

Your team has grown substantially over the past years. What led to such a growth?

As the demands of the company grow, so does our team. We have grown so much over the years, we are not just a run-of-the-mill interiors shop, but we were

the first to deliver a whole lifestyle experience to the nation. So, it’s basically everything that has to do with elevating a home’s interior, from colour schemes down to dressing a dinner table and everything in between, including architecture, design and project management.

Tell us about your Design & Projects Studio.

Set up in 2007, the camilleriparismode Design & Projects Studio has garnered expertise in both architectural and interior design. Made up of a team of architects and designers, the studio is well-equipped to face challenging projects, offering intelligent as well as striking solutions. While taking a pragmatic approach to design based on the clients’ specific day-to-day needs, the team strives to create unconventionally elegant spaces.

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What does the festive season bring to camilleriparismode?

The festive season is always one of the most exciting periods at camilleriparismode. We always make sure every visit to the shop is a memorable one, but more so in Christmas. As we open every day of the month in December until Christmas day and we spend even more time at the shop, the shops come alive in every way - from our preferred Christmas carols, the flowing prosecco and whiskies, our scrumptious chocolates and our statement gift wrapping‌ camilleriparismode becomes a feast for the senses in every way!

What should clients look out for this Christmas at your outlet?

The fun part of our jobs is trying to find that special something, that something out of the ordinary!

So the exciting part of visiting the shop is inviting clients to find the unexpected‌

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FA S H I O N Fashion is part of our culture, and it’s about more than just a pretty dress.

Joan Smalls

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Charles & Ron

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Simone Leigh awarded the 2018 HUGO BOSS PRIZE Mark Langer, Chairman and CEO of HUGO BOSS AG, and Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, announced that the artist Simone Leigh has been awarded the HUGO BOSS PRIZE 2018. Simone Leigh is the 12th artist to receive the biennial accolade, which was established in 1996 to recognize significant achievement in contemporary art. For over twenty years the leading premium fashion brand has collaborated with the Solomon R. Guggenheim Museum and Foundation to honour contemporary artists whose work has constituted a significant contribution to the evolution of contemporary art.

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The 12th award ceremony of the HUGO BOSS PRIZE was celebrated with an exclusive seated dinner in the iconic environs of the Solomon R. Guggenheim Museum in New York, with celebrities, members of the international arts scene, and New York socialites in attendance. One of the highlights was a musical performance by the contemporary British pianist and composer Alexis Ffrench.

Simone Leigh, the winner of this year’s HUGO BOSS Prize was born in Chicago in 1967. Her sculptures, installations, video art and performances center on feminism and African-American history.

The jury honoured Leigh also for her commitment as a mentor of young female artists and found her focus on black women's experience in the United States to be inspiring due to its radicalism and relevance in times of a changing political and societal climate.

“The HUGO BOSS PRIZE is at the center of the Guggenheim’s commitment to contemporary art. We gratefully acknowledge our friends at HUGO BOSS for their visionary partnership in this endeavor, which has made significant contributions to the field of contemporary art and introduced emerging artists to a global audience,” said Richard Armstrong, Director, Solomon R. Guggenheim Museum and Foundation. The HUGO BOSS PRIZE carries a stipend of $100,000 and is administered by the Solomon R. Guggenheim Foundation. Simone Leigh’s work will be presented in a solo exhibition at

New York's Solomon R. Guggenheim Museum next spring. The artist was selected from a short-list of six finalists which included Bouchra Khalili, Teresa Margolles, Emeka Ogboh, Frances Stark and Wu Tsang.

Since its establishment, the award has gone to Matthew Barney (1996), Douglas Gordon (1998), Marjetica Potrč (2000), Pierre Huyghe (2002), Rirkrit Tiravanija (2004), Tacita Dean (2006), Emily Jacir (2008), Hans-Peter Feldmann (2010), Danh Võ (2012), Paul Chan (2014) and Anicka Yi (2016). Regardless of age, gender, nationality, or medium, it honours the work of remarkable artists whose practices are among the most innovative and influential of our time.

The 2018 HUGO BOSS PRIZE jury was chaired

by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator, Solomon R. Guggenheim Museum. The jurors were Dan Fox, writer, editor and AV Director, “Frieze” magazine; Sofía Hernández Chong Cuy, Curator of Contemporary Art, Colección Patricia Phelps de Cisneros, New York and Caracas and incoming Director, Witte de With Center for Contemporary Art, Rotterdam; Bisi Silva, Artistic Director, Centre for Contemporary Art Lagos; Susan Thompson, Associate Curator, Solomon R. Guggenheim Museum; and Joan Young, Director, Curatorial Affairs, Solomon R. Guggenheim Museum.

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A Royal Legacy Interview with Anthony Lindsay Managing Director at FabergĂŠ

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or over a century, the name Fabergé has evoked wealth, opulence and the world's most extravagant Easter eggs. The small, intricately decorated objets d'art - which Russia's royal House of Romanov commissioned from the jeweller and goldsmith Peter Carl Fabergé - are, still today, some of the most exquisite decorative works ever created. The brand's prestige continues to flourish with the introduction of the ‘Les Fabuleuses’ High Jewellery collection and the Fabergé timepieces. Atelier recently spoke to Anthony Lindsay on the brand's long-standing story, its recent inroads into niche areas and the brand's plans for the future.

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Historians describe Fabergé as a businessman ahead of his time. What made him such a forwardlooking jeweller?

Peter Carl Fabergé trained as an artist jeweller as Russia was opening up to and learning from the rest of Europe. The Russian aristocracy were fascinated by all things French. Peter Carl Fabergé had his formal education in Dresden Germany, served his apprenticeship with the jeweller Joseph Friedmann in Frankfurt, studied in Paris and travelled throughout Europe for two years learning the new trends and techniques in

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jewellery - which is how he developed his own ideas. He felt the artist jeweller should embody craftsmanship and innovation. He worked with the finest workmasters of his day to devise new techniques, new mechanical movements and new ways of creating automata – often as the surprises within his Imperial Eggs. His pursuit of perfection, unsurpassed craftsmanship, curious mind and unique use of colour, materials and techniques were ahead of his time. Even his rivals, such as Cartier, clearly drew inspiration from the great Russian jeweller himself.

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It is often noted that although it's the eggs most people associate Fabergé with, they only make half of the story. What is the other side of the Fabergé story?

After Peter Carl Fabergé was made Supplier by Special Appointment to the Imperial Court, he had the reputation that allowed him to create anything he wanted. He devised jewellery pieces, jewelled golden objets d’art decorative boxes and desk sets, cigarette cases, perfume bottles, hardstone animals and flowers, photograph frames and his artistically unrivalled timepieces.

The clockwork movement was fascinating to him.

Working with Swiss artisans, he used it to power his love of surprise – automata were often the surprises within his Imperial Eggs. One small silver, yellow gold diamond and enamel elephant automaton was given to the British King George V - when the keywound mechanism was released the elephant walks, swinging its head and trunk. The workmanship involved is so perfect, the elephant still walks today.

Fabergé was also a marketing pioneer, sending teams to the South of France and Italy, to Arabia, India and Siam. His work was known and respected in the Courts of Japan and China and the East and West Coasts of North America.

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A telier How has the business evolved over time?

It has been a long and complicated journey.

Peter Carl Fabergé’s company was launched in 1882. His skilled craftsmanship was noticed by the Russian court. In 1885, he created the first legendary Imperial Egg – the Hen’s Egg – as an Easter gift from the Tsar to the Tsarina. Tsar Alexander III was so delighted with the objet he awarded Peter Carl the title, ‘goldsmith by special appointment to the Imperial Crown.’ Years of international success, awards and sales followed, yet in 1918 Peter Carl’s business was nationalised by the Bolsheviks and Fabergé family fled Russia. After World War II, they discovered an American perfume maker was using their name without permission. The family agreed to let the firm keep using the name in exchange for a small payment. Later the business changed hands - several times - and eventually the Fabergé trademark was registered globally across countless categories.

We acquired these trademarks in 2007 and announced we would restore Fabergé to its rightful place as a leading luxury business. In this, we took inspiration from the master. Peter Carl Fabergé was a forward-thinking artist who loved discovering new ways but also revered the old masters – for instance, Fabergé revived lost enamelling techniques and expanded their possibilities, going on to invent more than 145 new shades of enamelling. He revived the use of different colours of gold and invented invisible setting well before Van Cleef & Arpels in 1933. So, he was moving forward but happy to look back.

That’s the spirit contemporary Fabergé holds dear. We embrace our heritage and the traditions and philosophies of Peter Carl Fabergé, but we also want to surprise people – inventing new mechanisms and using unusual materials.

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Bring love home

this Christmas, with Sarto International model and former footballer David Camenzuli stars in the luxury retailer’s 2018 Christmas campaign, along with his gorgeous fitness guru wife Leah and their newborn bundle of joy Sophia. Famed for iconic windows reminiscent of those found in Paris, London and Milan, Sarto has delivered a concept which immerses customers and passersby in a true Christmas fairytale, set right here in Malta. “Bring Love Home” is this year’s theme and thanks to a magical take on Valletta’s iconic skyline, Sarto is a must-visit Christmas destination for all the family - with warmth, bubbly and sweet festive treats for everyone.

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The magical installation was custom built in Rome and pays a subtle nod to Valletta’s Capital of Culture title – which is soon to come to an end – and translates a narrative which talks about bringing love and warmth home to Malta. Sarto has been pretty busy of late, with the launch of its brand new website, www.sarto.com.mt, two large scale campaigns throughout 2018, and a level collaboration with globally-recognised industry names, including tour de force Misa Patinszki (who also featured in their Spring 2017 campaign). The luxury store has also

teased the launch of three new brands for Spring 2019, with the likes of Balmain, Emilio Pucci and Fendi set to join its stellar portfolio, ensuring it retains pride of place in Malta’s luxury segment.

Until then however, ‘tis the most wonderful time of the year, so be sure to head to Sarto for a glass of Veuve Clicquot or Port and savour the impeccable fashion on display, through the likes of Burberry, Dolce & Gabbana, Ermenegildo Zegna, Moncler and Saint Laurent.

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Photo credit George Scintilla

A Critical Eye Interview with Carina Camilleri, Fashion critic, Stylist and owner of modelling agency - Models M

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he is blunt, bold and and above all, honest.

Some might even dare say too honest. Yet Carina Camilleri, seems to understand that it’s not merely her job, but also her duty to speak frankly and with complete transparency about an industry she’s worked in for the past decades. Indeed, her reviews have made her one of the major authorities in Malta’s fashion industry.

Atelier asked Carina about working in the local fashion industry, her interpretation of style and the dos and don’ts during the Festive Season.

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How would you describe the local fashion industry?

Local designers have definitely stepped it up with the likes of Charles & Ron and Luke Azzopardi. I would like to see more interesting brands introduced in Malta like MSGM and CDG . If we are looking at what people choose to wear, there’s a lot to be desired. We have a handful of people, mostly gay boys and girls who hang around with them who nail it! We also have a large sector of people who are being given the wrong advice by sales assistants, bloggers and / or ‘stylists’ and sadly, end up looking terrible. I’ve always said it and will keep on saying it- the best the Maltese look is at a funeral when wearing black and white!

Coco Chanel once noted, “Fashion fades, only style remains the same.” To what extent do you agree?

Fully! Fashion is how someone matches clothing to fit in with how the rest of society is dressed. Style is how one matches clothing to fit themselves. Style comes from within, which is why style remains the same.

Do Maltese have style?

A handful do, the majority give me the impression that they fail to look in a mirror before going out.

Can one be stylish on a budget?

Most definitely! Fashion can be bought, style can’t.

You either have it or you don’t!

I recently read you love Japanese fashion. What makes it so unique?

My all time favourite fashion designer is Rei Kawakubo of Comme des Garçons. It’s unique as she pushes barriers and has fun with her designs, never taking things too seriously. Rei leads, others follow.

What catches your eye in a crowd?

Depends which crowd! Anyone who is confident, classy, indivdual.

You often insist to have less in your wardrobe but choose wisely. What tips can you give for a perfect wardrobe?

I am not one to talk as my wardrobe is overflowing, I am your definition of a shopaholic. I believe that the less but wise choice is attributed to older people since sadly, one cannot wear everything that is on trend. So keeping it classic but definetely with a twist, one is on the right track. Of course, for the young generation, let the inspiration juices flow and allow yourself to be creative!

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What does the festive season mean to you from a fashion point of view?

To me nothing. I don’t wait for the festive season to purchase anything special, I do that all year round.

I actually tend to keep back and opt for modern classics which I have.

What are the dos and don’ts for this time of the year?

This depends on how old one is. For a quick wardrobe update, cowboy boots with floral mid length dresses for almost any age, for under 25, cycling shorts and oversize jackets are the way to go.

The most important thing is to ask yourself, does what I am wearing accentuate the best version of who I am as a woman? And of course - no more real fur! The big names such as Tom Ford, Gucci have dropped it, therefore so can we!

What's next on your agenda?

My dream would be to home all stray dogs, in fact I, together with Matthew Spiteri, am working on a campaign for the dogs at Għammieri. The idea is to create a set-up with a backdrop and professional lighting and style the dogs. We hope to take beautiful photos which will encourage people to adopt, of course not just for Christmas but for LIFE! I am also looking at expanding my agency Models M but not giving everything away.....

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Taking Mickey's magic

with you, in style!

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n honour of Mickey Mouse’s 90th Anniversary this year, Samsonite has partnered with Disney on the “Mickey the True Original” campaign, which celebrates the character’s prominence as an icon in popculture.

Arguably the world’s most popular luggage and travel accessories brand, Samsonite has produced an irresistible collection with one of its most iconic and recognizable styles.

The Cosmolite Disney delivers a playful and timeless all-over Mickey Mouse print complete with original Mickey details, right-down to the

Did you know?

“Hollywood walk of fame” Mickey was the first animation figure who got his own star, in 1978.

“Mickey for President” Mickey Mouse is the name that is written down the most as non-existing candidate on voting forms during American presidential elections.

“Mortimer” This was the name that Walt Disney had chosen when he created Mickey. But his wife preferred the more playful “Mickey”.

“Topolino” Is Mickey’s name in Italian.

inner lining and an original Mickey rubber patch. The Cosmolite is extremely strong and incredibly

Mickey’s first words: “Hot Dogs!” (in

light thanks to the innovative woven

himself provided Mickey’s voice for

technology. Mickey’s history is long and colourful, and several luxury collaborations have been inspired by the character.

almost 20 years).

1929 during his 9th movie. Walt Disney

“4” Is the amount of fingers Mickey has on each hand.

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Charles & Ron

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A Weaver's Legacy Interview with ALBERTO BEVILACQUA C.E.O. Tessitura Luigi Bevilacqua Venezia

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ehind Bevilacqua’s velvets lays a story of handicraft and patience, handed down from generation to generation. Skilled craftspeople still operate the hand-looms dating from the 17th and 18th century. The company is also known for their beautiful brocades, satins, damasks, lampasses and trimmings.

Whether hand or machine-loomed, the fabrics created are based on selections from Luigi Bevilacqua’s exclusive library of 3,500 designs, using only the finest quality dyes and threads. One of their hand-loomed velvets is the fabulous Tagliato Tigre, having a pure-silk pile and a 50/50 linen and silk ground. Alberto Bevilacqua, CEO of Tessitura Bevilacqua Venezia shared with Atelier the rich history that lies behind the company's walls, their complex fabric process and their projects for the future.

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The first sources of the involvement of the Bevilacqua family in the production of silk fabrics, can be traced back to 1499. What is behind such a long success story?

Behind this success story there is a great passion and love for a company that has been handed down from generation to generation over the years. The realization of these masterpieces is by hand and are exclusive products in the world. Richness, elegance, luxury and beauty are combined with the uniqueness of the Venetian savoir-faire that make this company rare and precious.

What are the origins of your weaving?

The roots of the Bevilacqua family in the world of weaving were founded in 1499. In this year, in fact, Giovanni Mansueti painted San Marco Trascinato Nella Sinagoga, and he wrote the names of the patrons in a scroll: among these appears a certain "Giacomo Bevilacqua Tessitore". La Tessitura was founded by Luigi Bevilacqua in 1875, who recovered looms and machinery formerly used by the Scuola della Seta of the Serenissima. But according to some documents there were some Bevilacqua weavers already from 1500.

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Why is the processing of your fabrics considered complex?

It is because it is a handmade production where the fabrics are made on original 18th century Jacquard looms. All the phases of the processing, today as was then, are manual: from the production of perforated cartons, which reproduce exclusive designs, to the preparation of the weft, up to the arrangement of the threads. The preparation of the frame alone takes the weavers approximately three weeks to prepare, whilst the amount of velvet produced daily varies from 30 to 60cm. They are precise and measured gestures that create works of art, refined fabrics destined to decorate royal palaces, theaters and residences famous all over the world. Still today Tessitura Luigi Bevilacqua is the only Italian manufacturer of suprarizzo velvet and it preserves in its historical archive around 3500 drawings. From approximately the 1950s, together with the manual production, the company has added a mechanical production, always performed on exclusive Bevilacqua designs.

Do you think your industry is in danger of extinction?

There may be risks, but we believe that there is an increasingly expanding market, where customers better understand this textile history and increasingly appreciate these artifacts of Venetian excellence.

How does your industry still have its relevance?

For over four centuries the same gestures are repeated, reinventing unique pieces of great beauty every day. Our customers in fact are increasingly looking for this type of products that give prestige and preciousness both in house decor and in fashion.

What plans does your company have for the future?

Surely give more visibility to our work. Many Venetians still do not know of us. Yet we are the only active production on the Grand Canal. In the same way we want to offer our fabrics as objects for house decor tout court.

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the PERFECT Dress Interview with Josef Gauci, Owner of Ivory & Co.

T Focus by Mr V

here is something magical in the Ivory & Co. outlet situated at the periphery of Attard which encourages you to stop and admire the beautiful garments displayed. Every dress has that touch of class which makes it particular and perfect for that special occasion. Atelier recently met Josef Gauci, owner of Ivory & Co. to discuss with him the recent trends in the bridal sector, his perspective of what is the perfect dress and what to expect in the year to come.

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Describe an Ivory & Co bride?

An Ivory & Co bride is foremost a woman in love, a woman who wants to remember her special day for a lifetime and a woman who wants to feel beautiful both inside and out.

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Carolina Herrera once noted, “A wedding dress is both an intimate and personal for a woman - it must reflect the personality and style of the bride.�

To what extent do you agree?

Your personality and style play a huge factor when choosing your wedding gown, you must be comfortable and feel relaxed and not have to worry about the dress. My advice is to not let the dress wear you but for you to wear the dress.

What do you think are the most important things a bride should consider when they are choosing their gown?

Remembering what works best for your body type and what is going to make you feel most beautiful whilst still remembering comfort. There is no point looking fabulous if you cannot breathe or dance!

Many brides now are choosing two gowns, with the second gown allowing them to have more freedom to dance, twirl and enjoy the celebration.

Is white still a popular wedding dress colour?

The blushing bride in pure white is kind of a misconception on many levels. Firstly, a wedding dress is rarely ever pure white. Normally a gown will be pale ivory, that will look and read as white but a pale ivory is kinder to one’s skin tone or complexion and will photograph better. From a pale ivory to darker shades we have thousands of gowns, with something to suit every bride to be.

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SAY HELLO TO THE NEW 4x4

Starting From

www.suzuki.com.mt

Industrial Motors Ltd. 1, Antonio Bosio Street, Msida MSD 1341 Tel: 20160000 Mob: 99991666 Email: sales@suzuki.com.mt | Mizzi Motors Ltd. Mgarr Road, Ghajnsielem, GSM 9016 106 Tel: 21556942 Mob: 99782000 Email: sales-gozo@mizzimotors.com.mt

€17,900

A telier What makes your fabrics stand out of the crowd?

We have one whole floor of our showroom dedicated to beautiful fabrics, ready to be created and sewn into the perfect dress. From show stopping fully beaded fabrics to subtle silks. The choices are endless. Just remember to stand out from the crowd but don’t outshine the bride!

Do customers appreciate the value of a good fabric?

I believe so, the beauty is not just in the look of the fabric but also the touch and how well the fabric will drape when turned into that special gown. Quality is obvious with fabrics.

How has the industry developed over the past decade?

Definitely the digital age that we are now living in has changed how a bride will find inspiration for her dream day and her dream gown. Technology has really transformed the bridal industry with a bride often downloading a wedding panning app and having the ability to research styles and designs worldwide before even coming to try on her first

dress. Gone is the day where a bride will come in with a pile of magazine cuttings and in 2018 our brides tend to be very informed on current trends.

Yet Ivory & Co does not only cater for a bride right?

Yes, that is correct, we have three full floors of our showroom, with one being our dedicated bridal salon featuring gowns by Atelier Pronovias, Pronovias, Rosa ClarĂĄ and Marco & Maria to name a few. Then a full floor dedicated to fabrics and another floor for our ready to wear collections with evening wear for every event, mother of the bride and of course the bridesmaids with dresses suitable for all price points and sizes.

What are the most popular trends for this winter?

Clean lines are making a comeback for 2019, with details such as oversized bows, bold floral infusions in detailing or prints, ruffles and high necklines.

Any projects in the pipeline for 2019?

Something exciting for sure but nothing that presently can be discussed but stay tuned.

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Photos credits Daniel Borg

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THE colours of Flowers Interview with Bjorn Borg

D

riving up Labour Avenue in Naxxar, hidden among the numerous shops situated on the right hand side of the street, lies an enchanted place packed with all sorts of flowers Mother Nature can offer. Amaryllis, roses, begonias, calla lilies, hyacinths and tulips fill every corner of the outlet giving it that vibrant colour and that intense scent of freshness only flowers can offer. Floreal is indeed a little heaven which highlights the beauty in every flower.

After women, flowers are the most lovely thing God has given the world.

Christian Dior

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It's beginning to look a lot like Christmas at Floreal packed with lovely flowers, Christmas wreaths, colourful baubles, fairies and loads of other beautiful Christmas decorations all depicting the theme selected for this Christmas - 'Nostalgique MĂŠmoire Du NoĂŤl.'

I recently paid a visit to the outlet to meet up with the artifice of such an amazing place, Bjorn Borg. His passion and dedication for flowers is impressive. He explains that his love for flowers developed at a very young age when he used to help his uncle, a parish priest, in the church decorations.

"I felt there was something magical in flowers which had the incredible power to transform a cold space into such a warm place. I felt flowers had the ability to transform nature in what it is to what you want.

I would spend hours there helping out choosing the right colours and the right place to put flowers in every corner in the church." Little did he know though that those few hours would develop in him to pursue flowers as a professional career. "I felt flowers were really what I wanted to be surrounded with. They inspired my creativity and made me feel so much at peace with myself."

Bjorn notes that he was never too keen about formal training. "I always considered myself a rule breaker and never felt I could fit into strait jackets. I always saw flowers 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 there, working with flowers where I felt at ease and happy to experiment with new concepts. Nevertheless, he clarifies that formal training is a must to keep updated with new techniques and concepts spas to offer clients the best possible service. It is with no coincidence that Bjorn and his team work closely with the The Regent Academy of London, which helps them keep their skills well polished.

I recently read that the outlet opened its doors on Valentine's Day in 1997 which inevitably induces me to ask Bjorn what led them to choose such a particular day. He promptly clarifies that there was no specific reason. " It just happened. It was a day when we started sending out flowers and from there on we never looked back. Over the past seventeen years our work started gradually picking up until we developed in what we are today. I ask Bjorn what makes a florist stand out of the crowd to which he quickly replies that handling flowers is more than just a profession. It is a way of life which requires a lot of patience, dedication and eye to detail. "Over the past years, we have constantly sought to offer our clients the best possible service exalting the beauty of our primary product and always working in accordance with context and with the exigencies of our customers."

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I ask Bjorn what makes flowers so precious and beautiful to which he refers to a quote he recently came across in The Book of Tea by Okakura Kakuzo which states that “In joy or sadness flowers are our constant friends.” He adds that, "Flowers are such an amazing living thing. They have the power to change colour of a room, the coldness of a place, the mood of a person. Their feel, their colour, their vibe and their freshness, quickly bring a smile to your face.

It is amazing how the delivery of flowers touches on our feeling and instantly changes our mood.They alleviate pain, they generate love and they create happiness. Indeed flowers embrace us in all moments of our life." I recently read a quote by Gérard de Nerval who noted that "Every flower is a soul blossoming in nature. "Bjorn concurs and believes that, "Flowers are alive and in every stage of their life, have different personalities which effect their colour, their shape and their scent." I feel it is only pertinent to ask Bjorn which flower does he feel close to which he promptly notes that they are amaryllis and hollies as they fit with any style of house.

We shift our conversation on the local market.

Bjorn feels that there is a better appreciation towards flowers, "We are getting there yet we are still behind. People still consider flowers as a luxury

and this can be noted in their budgets dedicated to flowers for special events. Very few still appreciate the work involved before they are delivered to a client. It takes a lot of time, energy, care and commitment which needs to be justified in the price one pays for flowers." So I ask Bjorn whether flowers are a luxury or a necessity. He notes, "Both I would say. They are luxury since they require a substantial investment to have regal flowers yet are a must in key events."

We also touch on Christmas. He notes that "it's the most wonderful time of the year!" I like to involve flowers in the Christmas decor. It brings together a lovely meal, it gives that homely feel to any house and it brings a sense of Christmas warmth to any corner of the house."

It is time to conclude our conversation yet before driving off to my next interview I ask Bjorn what is next for Floreal. He promptly replies, "We are growing at a healthy and sustainable rate. The plan is to open small flower shops to create a a flower culture in Malta. We need to get flowers closer to the people which will create a better atmosphere and mood. Life is so fast but a bunch of flowers will make a difference. They are a good feeling for the receiver and also for the giver."

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Gaia & Nina

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THE MARSA JUNCTION PROJECT PHASE 2 COMPLETE

We are committed to deliver a revolutionised infrastructure that will render a service to our great islands and an infrastructure that will exceed people’s expectations for a better quality of life. We are planning, we are working and we will keep on delivering what we have promised.

HON. IAN BORG MINISTER FOR TRANSPORT, INFRASTRUCTURE AND CAPITAL PROJECTS

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B ea u ty

Beauty is how you feel inside, and it reflects in your eyes.

It is not something physical.

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Sophia Loren

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A JOURNEY to Success Interview with Andy Lecompte

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ndy Lecompte is regarded by many as a genius with a unique ability to transform normal hair into real work of art. His journey in the world of hairstyling started at a very young age yet quickly took its toll attracting the interest of leading international stars including; PenĂŠlope Cruz, Fergie, Megan Fox, Katie Holmes, Rachel McAdams and Madonna.

Notwithstanding a very busy agenda, Andy Lecompte took some time off to share with us what attracted him to hairstyling, his relationship with Madonna and his projects in the pipeline.

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How did it all start?

I got my first taste of the hairstylist life at the age of 10, when I worked at my sister’s salon for a week in Santa Cruz, California. I instantly knew that doing hair was my passion, and when I was 13, she hired me to be her assistant/salon receptionist/ housekeeper. Turning 16 couldn’t come soon enough.

I wanted to follow in my sister’s footsteps and start the Regional Occupational Program in high school, then attend beauty school. But even before I went to beauty school, I was working with a photographer to build my portfolio. It was a good thing, because not only did I use it to graduate from school early, but it also helped me book my first freelance gig. My favourite part of beauty school was working on the clientele. This is where I learned how to do wet sets, which have been a great asset throughout my career.

Though they’re not as popular now, knowing this technique is the foundation to great hairstyling My big break was when I was 18 and went to Los Angeles to interview at Privé Salon. My good friend was working there and had me come up to check it out, and I got the job! It gave me a chance to work with celebrities like Britney Spears, Jenny McCarthy, and Courteney Cox. This is where I became a

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celebrity cutter of hair, and began my journey to becoming a celebrity hairstylist. There, I also started working with studio head executives and a roster of celeb clients including Lindsay Lohan, Mischa Barton, Nicole Richie, and Sam Ronson. My biggest break though was when Madonna saw my portfolio with my work on Rebecca Romijn, and we started working together and have been ever since. It was around 2003 or 2004 when I started to become the fashion and editorial hairstylist I am today. The rest was history.

In what way would you describe yourself?

Fun. Happy. Relaxed. Passionate. Organized.

What do you consider to be the epitome of happiness?

I love what I do, and I love work. The abundance of the work-life balance is what I find so magical. I love living in L.A. and part of the reason I started doing hair is because I get the chance to talk to people all day every day. Having relationships with people is essentially my job—and I don’t define that as work.

That is why I feel so happy and fulfilled with what I do.

A telier

In a recent interview you noted that whilst working with Madonna you learnt not only how to try to be the best, but how to stay the best. Can you elaborate?

She’s the ultimate perfectionist and what I’ve learned from working with her to keep working hard, and keep striving. Every single project, you have to bring your A-game. You have to raise the bar every time; it’s not about short-cuts. You have to remain relevant by constantly changing, evolving and growing your bag of tricks.

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STOP VIOLENCE SEEK HELP FILE A STOP VIOLENCE SEEK HELP POLICE REPORT OR CALL FILE A POLICE REPORT OR CALL

A telier

and changed people’s lives for better and for worse.

The area where the Internet made the biggest impact is the way, the speed and the time we spend searching for what interests us. Clients can today directly access hairstyles thus giving them the opportunity to watch, think and decide what could be their next hairstyle. The internet also serves as a learning platform where people can follow various hair style methods and try them at home.

Why is it important for stylists to go through an apprenticeship program after beauty school?

Reality is very different from classroom theory!

Apprenticeship will let you work with someone who’s an expert and who will help you learn to be an expert too. You’ll learn to do work you love, and you’ll have the chance to be your best.

You recently noted, “What some people sometimes don’t realize about being a hairstylist is that you need to be very personable, have a dynamic personality, strong people skills, and be warm and friendly.” Why? Hairdressing is not only about wash, dye, cut and blow. It also entails listening to the clients, talking to clients, guiding them and also encouraging them.

In what way has the internet made the hairstyle world more accessible and closer to home?

The Internet has become an ultimate worldwide broadcast “entity” that effected a gigantic upheaval

You often stress on the fact that people judge on the end result — an effortless red carpet look. In what way does such judgement make the work of hairstylists more challenging?

Indeed they do. People are too busy to delve into process of how a final produce is achieved but rather on its ultimate success rate. This approach keeps us on our toes and induces to strive further to reach the best possible results.

In what way does the festive season fit into your studio?

It is that time of the year when we are busy transforming our clients’ hair in party hair styles, Bohemian styles among others.

What should we expect from Andy Lecompte in the coming months?

I am currently working on a very exciting project the details of which you will learn about soon.

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A Cutting Edge Ted Gibson

T What attracted you to the world of hairdressing?

As a kid I was always attracted to beauty. I travelled all over the world as a child so it allowed me to see all kinds of beauty.

Why is beauty an individual experience?

It is because I believe that every experience in my salon should be specialized for the individual. My job as a hairdresser is to see beauty for a guest as they don’t see themselves. It’s about bringing out what’s

ed Gibson is considered by many as a genius and one of the major exponents of the hair styling industry with a portfolio of star clients that include; Anne Hathaway, Renée Zellweger, Kate Gosselin, Zoe Saldana, Ashley Greene and the fashion houses Chanel and Prada.

Texas-born Gibson is also the hair expert on the famous American TV show, What Not to Wear and the owner of an empire which includes a product line and salons all across the US.

the most beautiful about a woman and that is an individual experience.

You are renowned for personally attending to every single aspect of the haircut. Why is it important to give personal attention to each customer?

I think that we live in a time where a woman has so many options to have her hair done. I think the experience is what it is about. Attention to detail customized just for her. Great shampoo and service.

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Where do you find inspiration to keep your hairdressing fresh and innovative?

I look within myself to challenge myself. We are only as good as our last hairdo.

You have recently noted; “As hairdressers, we are one of the only groups of people that are licensed to touch.” Can you elaborate?

It’s true. We as service industry professionals are licensed that by the touch we change the physiology of the body.

It has often been noted that your brand, Starring, celebrates individuality and independent beauty.

How does Starring achieve such goal?

It is because it helps to create many different hairstyles and can be used on many different textures. Blow dry for volume, on dry hair for matt/ shiny texture to slick back hair. I have used it on Lupita Nyong’o, Debra Messing, Tessa Thompson,

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Hailey Baldwin and Rachel Brosnahan. They all have different textures of hair created for independent individual beauty.

Tell us about the Ted Gibson Advanced Academy.

The academy is a series of classes to help the hairdresser become better behind the chair in editorial and working with celebrity.

What hairstyle options would you recommend for the festive season?

I am a fan of decades ago I live the 60s bouffant, the 40s wave and the 80s texture.

What should we expect to see from Ted Gibson throughout 2019 and beyond?

STARRING by Ted Gibson Salon More Starring by Ted Gibson haircare Ted Gibson Artistic Team auditions International Travel

A telier

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THE BARBER Next Door Interview with Clinton Attard owner of Yuva House of Beauty

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riving in and out of Żebbuġ, you will certainly come across a small hair studio with a name that is synonymous to talent and flair.

Indeed, Yuva House of Beauty is the brain child of one of Malta’s best hairdressers with his unique skill to tame the wildest of tresses into sophisticated, richly-textured looks.

His work encapsulates his passion for a profession he has inherited from his mother and grandfather. Atelier had the privilege to sit down with Clinton and get an inside look at the man behind Yuva House of Beauty, while picking up a few of his secrets too!

How did it all start?

It all started thirty years ago at my grandpa’s salon, Ta’ Dwardu Barber. I still vividly remember how passionate he was about barbering and the positivity he transmitted to every single customer.

He gradually developed in me an interest in the profession which I later followed a course in at the school of hairdressing. It was there where I polished my skills. In 1996, I felt it was the right time for me to open my own salon in Zebbug and a decade later launched, HAIR FACTORY. Four years later though I moved to another salon, with a brand new name, YUVA where I can offer a broad range of services. In 2016 I was chosen by DEPOT THE MALE TOOLS & CO to be their brand ambassador for Malta, with

intensive barbering techniques, beard rituals and product knowledge. Learning is an ongoing process which I constantly invest in by attending courses at leading hair icons like Fudge (UK), Wella (UK) and Darmstadt (Germany), also attended Matrix Freestyle Club, milk_shake and simply zen Italy, z.one concept International Educator and Fudge courses held locally. Took part in the Hairdresser of the Year Awards 1998, Goldwell Awards 2005 and other hair shows whilst doing Fudge commercials for TV programmes My accomplishments were only possible thanks to loyal clientele, including leading personalities such as Red Electrick, Danusan, Kevin Paul Calleja, No Snow No Alps and Cryptic street mong others.

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Tell us about your salon. What inspires you every day and where do you get your energy from? It must be hectic doing what you do!

It is of utmost importance for us that every client feels comfortable with themselves, with the place and with the service provided. I believe Yuva House of Beauty stands out of the crowd thanks to its creativity, style and its well defined fashion trends it constantly offers to its clients. The service we offer is not the product of an individual effort but rather of a collective effort and the support we get from our respective families. We recently also renovated the outlet in a way to offer a more relaxed ambience to our customers. The outlet has an industrial look with over 70% to 80% of material used is recycled. A client’s smile and satisfaction is our source of inspiration which encourages us to keep on giving our 100%.

Joan Crawford once noted “I think that the most important thing a woman can have - next to talent, of course - is her hairdresser.” To what extent do you agree?

I fully agree and would go further by referring to a quote I recently came across which states that, “The best crown a woman can wear is her hair.”

What role does communication play in your profession?

Communication is the most important role to make your client feel good and give him/her the right service that she/he needs. You have to try to understand your client what she needs and the client needs to understand me what am I going to deliver so it goes both ways.

What diplomatic skills do you put in action when clients ask for something that will not suit them?

Usually I start to talk about skin colour, face features and eye colour. I also ask whether they wear make up every day or not and also ask about their lifestyle. This gives me a 360 degrees picture of the individual which helps me to guide in the best possible manner the client on what fits him/her best.

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I recently read that the global men’s grooming business is now estimated to be worth $21.4 billion and the market is estimated to reach $60.7 billion by 2020. Are men becoming more vain?

The male market is growing very fast. Two years ago I had the opportunity to visit Depot - The Male Tools & Co as a brand Ambassador where I learnt how much men can take care of their hair style, their beard, their skin and their overall image. Indeed, our male clients are using a lot of the beauty services we offer at our salon and take care more of themselves irrespective one falls in the category of a Metrosexual and Lumbersexual.

What is your top hair look this Christmas?

This Christmas as well as next year we will see a lot of charcoal grey in various tones on blondes smoky pink a version of pink with other undertones of grey and velvet copper colour and also coloured tips to tone the ombre done before. Bobs are here again and sleek and natural look blow drys are in too. The strong look for man is definetly the classic fade and the old school look.

From my own point of view, my recommended look for the Christmas season is the bob style hair which fits perfectly with a classy brunette, a sophisticated blond or even a more punkish, rock chic colour which can be styled sleek or given an undone texture look. From a male point of view, I recommend a strong look with faded sides and a long fringe which can be styled forward or backwards with a salt spray and a pomade to create texture.

What’s next for you?

I am so excited about the new barbering concept we will launch next year.

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the BEAUTY from Within Interview with Diane Nikolic

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am not too much into makeup yet there is one face I come across from time to time on local media which grabs my attention for her bubbly character, her professional approach and her warm smile.

Never have I heard a negative comment on Diane Nikolic but rather words of praise on her undisputed skills, her welcoming approach and her very kind heart. Working on the second publication of Atelier, I felt it was a natural choice to ask Diane to come on board so as to discover more about her.

Love yourself. It is important to stay positive because beauty comes from the inside out.

Jenn Proske

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Diane was initially hesitant as she does not like to be too much in the limelight. She jealously holds on to her own personal life and hates to be seen as pompous. Yet after some follow up calls, she conceded and gladly accepted to meet up at her house. We met on a Monday afternoon. Her house was amazingly spotless which pretty much reflects her disciplined approach in anything she does irrespective of whether it is on a personal basis or on a professional level. Diane is a sweet person with a beauty which can be envisaged in her simplicity. The concept of too much does not fit into her vocabulary. Her face includes only a few touches of make up here and there to keep it vibrant, and her dress code is clean, simple and gives space to accentuate her own features.

Do not underestimate her size. Beyond that outer crust lies an amazing woman with such a strong and determined character who juggles a family, a career and other extras including X Factor which takes a lot of her time. In what remains out of a day, she tries to unwind with her loved ones.

I was quickly welcomed to her kitchen where without further ado she opened up on

her own story. She touches on her early years when she came across makeup. Her father was in the Air Force and from the age of six to the age of fourteen, Diane lived in England. Diane’s real interest in makeup started at the age of six, and it all happened when she met her mother’s boss. “She was this beautiful woman. She would come to our house and I would just stare at this beauty. Remember Wonder Woman? It was like watching her. I would look at her and think ‘wow, she’s so perfect’. When she said that she’s a beautician, I turned to Mum and told her, ‘that’s what I want to be’. That was it.” Following such an inspiring encounter, Diane's mother bought her a makeup doll. "It was a face on which I could experiment with my makeup skills. My experimentation process later extended to anybody who would sit and offer his face for a while."

Her experimentation process developed in her an interest to pursue her studies in makeup which she did following several beauty courses in Malta, and then followed another course in England. Diane’s first step was to open her own beauty salon which she ran for ten years. “It started with doing a wedding

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A telier here and there, then I started doing fashion shows for Haute Couture, then a photographer asked for me. After that I met Claudette Buttigieg, and that was it. It was Claudette who introduced me to television; she ‘found’ me in a way." At one point in her career though Diane could not cope with all the work she had in hand and was called to take a decision, so she took a risk, closed the salon and struck out as a freelancer. Since then her career has exploded and she is today considered by many as one of the best talents the local industry has ever produced. She delves further into her professional career by touching on her experience at the Public Broadcasting Authority. "PBS opened many doors.

It helped me come across many leading singers including Andrea Bocelli. I also developed a professional and personal relationship with Ira Losco. I've been with Ira since she was 16. I know her inside out and now we are working on X Factor." She also proudly notes that she has now also created her very own collection of brushes.

After a peep into her career, we shift our conversation on the concept of beauty. She boldly notes that "I have a different interpretation of beauty.

I believe it has something to do with being a positive person. It is not just the perfect crust. It very much depends on that positive vibe. Real beauty comes from within." She also adds that, "Materialism is something I am not too keen on and I am deeply worried to what extent we shall take it!" She adds that we are living in a social media driven society.

"We are subtly indoctrinated to believe in a woman that must look as a Barbie. This is totally wrong and dangerous." Diane notes that a face is the first thing we look at and thus it is imperative not to mess with it. She notes that if one goes to the extreme of tattooing eyebrows or resorting to plastic surgery, we need to make sure to go for the best. "If it goes wrong you will have to carry the damage for the rest of your life." Diane adds that a lot of women are resorting

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to extreme measures and are not realising the aftermath. She recommends that any decision taken should be driven by some good thought and after consulting several experts. "Remember that fashion is something temporary. Natural is always the best option." Diane takes the conversation on beauty further by noting that she had invented eyelashes ideal for different eyes. The idea behind the eyelashes was so people accept themselves as they are. "It is useless to fit something which is not yourself. Accept yourself and wear something which suits you. Do not copy and paste others." She concludes on the issue of beauty by noting that one should only exalt features yet should never change his/her identity.

Critics have often commented that Diane stands out of the crowd not just for her professional attitude, but also for her artistry. I ask her if she agrees. Diane smiles and remarks that it is a question to be directed more to my clients. "I work back and forth as I direct the face and try to make it as much symmetrical as possible. That is probably why they associate my style with artistry." We also touch on her passion. She notes, "Everything depends on passion. Whatever your job is, if you do it without passion you will not get that extra credit. I can teach makeup but I cannot teach passion. You need to look deeper. Anything I do, in food, in decorating a house, in the kitchen must be with passion. If you don’t do something with a passion, you shouldn’t do it."

We slightly touch on her personal life yet I make sure to just skim through since it is an area she prefers to keep low profile. She quickly explains her protective approach by noting that it is the only side of her life which is not public and she is happy to have somewhere to look forward to go away from the spotlight. Diane, remarks that, "I am with an amazing man who I consider to be my perfect soulmate as we help each other, complement each other and we are proud of each other. He is my backbone and pushes me to strive for more. I surely couldn't have asked for more." She then shifts her conversation to her son where she notes with a sense of nostalgia that he now has his own life. "My boy has grown fast into a man. I miss him yet understand that I did the same thing with my own parents. It is now his turn to do the same."

We also talk about the local beauty industry which she believes is growing at a fast rate and is slowly getting close to the international market.

Diane notes, "The recent makeup festival has shown the level Malta has reached in such sector." She also notes that even the end consumer has learnt more to handle make up. "People read, listen, watch and thus learn more about techniques. Yet it ultimately boils down to learning to adapt to your own face and not to copy and paste." She also gives a tip on the festive season where she recommends red lips. "They are always in fashion and a safe bet for any festive season occasion."

The twelve missed calls on my mobile are a clear message that it is time for me to call it a day yet before leaving I ask Diane what's next on her agenda to which she promptly notes, "Next is the school project. Teaching is my passion as it offers me the possibility to share my talent with others. It also offers me the possibility to contribute in the proper development of the young generation of makeup artists."

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SOCIETY

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

Victor Pinchuk

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January 11, 2019 EXTRAVAGANZAS FOR MANDOLIN

Teatru Manoel, Valletta | 7:30 pm Capella Gabetta; Andrés Gabetta violin & direction and Avi Avital, mandolin

January 12, 2019 THE HEART OF SENSIBILITY

Oratory of the Crucifix, Senglea | 12:00 pm Reiko Ichise, viola da gamba and Jennifer Morsches, cello

VIVALDI AND TELEMANN CONCERTOS

Teatru Manoel, Valletta | 4:00 pm Matheus Ensemble directed by Jean-Christophe Spinosi

THE GOLDBERG VARIATIONS ON ORGAN

St. John’s Co-Cathedral, Valletta | 7:30 pm Hansjörg Albrecht

BAROCK ‘N ROLL

Teatru Manoel, Valletta | 9:30 pm Matheus Ensemble directed by Jean-Christophe Spinosi

January 13, 2019 THE SEASONS

Aula Capitulare, Mdina Cathedral | 12:00 pm PRISMA

VIVICA GENAUX IS FARINELLI

Teatru Manoel, Valletta | 5:30 pm Concerto de’ Cavalieri; directed by Marcello Di Lisa with Vivica Genaux, mezzo-soprano

January 14, 2019 SACRIFICIUM

INSPIRED BY BAROQUE

Teatru Manoel, Valletta | 7:30 pm Malta Philharmonic Orchestra directed by Michalis Economou

January 16, 2019 THE SPLENDOUR OF THE VIOL

The Oratory of the Rosary, Basilica of St. Dominic, Valletta | 12:00 pm Fahmi Alqhai, solo viola da gamba

ICH HABE GENUG

Church of Our Lady of Jesus (Ta’ Ġiezu), Rabat | 7:30 pm Ensemble Zefiro; Alfredo Bernardini, Oboist and Director

January 17, 2019 IN THE KING‘S CHAMBER

Bibliotheca, Valletta | 12:00 pm Ensemble Flame; Eric Tinkerhess, viola da gamba, and Takahisa Aida, harpsichord

HANDEL CONCERTOS

St. Paul’s Anglican Cathedral, Valletta | 7:30 pm Valletta International Baroque Ensemble

January 18, 2019 BACH FLUTE SONATAS

Church of St. Catherine of Italy, Valletta | 12:00 pm Ashley Solomon, flute and Terence Charlston, harpsichord

MUERA CUPIDO – MUSIC BY SEBASTIAN DURON

The Archaeology Museum, Valletta | 7:30 pm Accademia del Piacere; Nuria Rial, soprano and Fahmi Alqhai, Director and viola da gamba

January 19, 2019

The Archaeology Museum, Valletta | 12:00 pm Imago Mundi; Sofie Van den Eynde, theorbo and artistic direction and Lore Binon, soprano

MUSICA POETICA; BACH CANTATA AND CONCERTOS

TIMELESS

BACK TO THE FUTURE

January 15, 2019

MADDALENA AI PIEDI DI CRISTO BY ANTONIO CALDARA

Malta Maritime Museum, Vittoriosa | 7:30 pm Lautten Compagney

MUSIC FROM THE FAIREST ISLE: SONGS FOR LUTE

BY DOWLAND AND PURCELL

Church of Our Lady of Victories, Valletta | 12:00 pm Claire Debono, soprano and Benjamin Narvey, lute

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Teatru Manoel, Valletta | 12:00 pm Ensemble Alia Mens directed by Olivier Spilmont Oratory of St. Paul, Valletta | 4:00 pm Lucile Boulanger, viola da gamba

Collegiate Basilica of Our Lady of Victories, Senglea | 7:30 pm Divino Sospiro directed by Massimo Mazzeo

January 20, 2019

January 25, 2019

TOI TOI: VERY IGOR TO DANCE!

BACH: THE WELL-TEMPERED CLAVIER, BOOK 1. BWV 846 – 869

Teatru Manoel, Valletta | 10:00 am Nicholas Dautricourt, violin & Lucia Micallef, piano

VENUS & ADONIS BY JOHANN CHRISTOPH PEPUSCH

Malta Maritime Museum, Vittoriosa | 12:00 pm The Harmonious Society of Tickle-Fiddle Gentlemen

BACH TO BALANCHINE

Teatru Manoel, Valletta | 5:30 pm Nicolas Dautricourt, violin and Lucia Micallef, piano

January 21, 2019 BACH CELLO SUITES NOS 5, 2 AND 4

Church of Our Lady of Porto Salvo, Senglea | 12:00 pm Isang Enders, solo cello

CHARLIE’S BAROQUE ANGELS

Parish Church of the Assumption, Għaxaq | 7:30 pm Charlie Siem, violin

The Archaeology Museum, Valletta | 12:00 pm Paul Gulda, solo harpsichord

CLAUDIO MONTEVERDI; MISSA IN ILLO TEMPORE SV205 Parish Church of the Assumption, Qrendi | 7:30 pm Valletta International Baroque Ensemble and Cantar Lontano Ensemble

January 26, 2019 PATH OF LOVE – MASA’AR HUBB

The Archaeology Museum, Valletta | 12:00 pm Paul Gulda, harpsichord and Marwan Abado, oud and vocals

BACH’S SIX BRANDENBURG CONCERTOS

Teatru Manoel, Valletta | 7:30 pm Les Passions de l’Âme directed by Meret Lüthi

January 22, 2019 BACH CELLO SUITES NOS 3, 1 AND 6

Church of Our Lady of Porto Salvo, Senglea | 12:00 pm Isang Enders, solo cello

BACH – ST MATTHEW PASSION BWV 244

St. John’s Co-Cathedral, Valletta | 6:30 pm Orchestra of the Age of Enlightenment directed by John Butt

January 23, 2019 TOCCAMI L’ANIMA – MUSIC BY FRESCOBALDI, BACH, COUPERIN AND ROYER

Aula Capitulare, Mdina Cathedral | 12:00 pm Marco Mencoboni, solo harpsichord

NICCOLÒ JOMMELLI, DIXIT DOMINUS; GIOVANNI BATTISTA PERGOLESI, MASS IN D MAJOR Parish Church of St Catherine of Alexandria, Żejtun | 7:30 pm Ghislieri Choir and Consort directed

by Giulio Prandi

January 24, 2019 BACH AND BEYOND – MUSIC BY BACH, REICH, MASLANKA AND ZARVOS The Archaeology Museum, Valletta | 12:00 pm Signum Saxophone Quartet

HANDEL’S ‘IL TRIONFO DEL TEMPO E DEL DISINGANNO‘ HWV 46

Teatru Manoel, Valletta | 7:30 pm Armonia Atenea directed by George Petrou

For more information & tickets:

vallettabaroquefestival.com.mt #VBF19 149

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Something to talk about Interview with Ira Losco

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t is hard not to recognise and appreciate Ira’s achievements over the past fifteen years. Many know Ira for her achievement at the Eurovision Song Contest in 2002, yet she is certainly more than that. Her curriculum is impressive with more than 20 music awards and having performed in over 20 countries along the likes of Sir Elton John, Maroon 5, Akon, Enrique Iglesias and Ronan Keating. Her imprint is not limited to the music industry as she has often been vociferous on key social issues including immigration and bullying. Ira shared with Atelier her views on the music industry, her role in the X factor and other projects she has in the pipeline.

Photo credit Kris Micallef

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Photo credit Nina Adams

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A telier

What makes John Lennon your favourite choice for a chat over a cup of tea?

Well first of all he is a music genius. He was part of the most famous music group to date. He truly encompasses the qualities of a brilliant song writer and manages to make something deep and dark, very relatable to the widespread audience. Also from interviews I’ve seen he comes across as extremely interesting and sharp and he also seems to have a witty sense of humour.

How does a celebrity find a proper balance between work and a personal life?

It starts off with accepting what you want out of life. Anyone who wants to do music has to accept that they are in the entertainment industry.

Irrespective to how artistic and reserved one might feel, ultimately the craft is exposed to the general public and that means you will be judged. I guess the more people like what you do, the more they will talk about it and ultimately with that comes a level of success. People will talk about you either way if you’re in the public eye so anyone in the entertainment industry must be ready for that scenario. Yet, who we are on stage does not always reflect who we are in our personal life. I find it very false when people do that. We are all humans with numerous flaws and at times our personal life doesn’t reflect our persona on stage and vice versa. I feel we all need a level of privacy but it’s up to the individual to draw the line. Everything is about balance. Even songs in an album need to balance out. The band on stage needs to balance itself well to deliver a great performance. Likewise balancing your personal and work commitments ensures a great life. I’m a firm believer in hard work and I also love my family time.

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Photo credits Kris Micallef

absorbed that they cannot comprehend caring or putting themselves in anyone else’s shoes. Social media has taken over their lives and approval from their peers is more important than having a conscience. It’s sad really.

Gender equality has always been very high on your agenda. Are we still living in a society where gender disparity prevails?

Unfortunately there will always be those who aren’t interested to find out about things which are different to their perception of the “norm.” Worse still there are those who are stuck in their ways and hold onto the stereotypes society has imposed years before and till this very day. I’m glad to say that many have come to realize that it is not a one size fits all. Many have also adapted to changes in the world and really engage in promoting and being hands on in securing gender equality in the workplace and in the home.

That said, yes of course, there will always be times where there is evident gender disparity and I will be the first to talk openly regarding this and to stand up for what is right in this respect.

In a recent interview whilst touching on the issue of immigration, you noted, “Why would you drive to a place, take your child with you, to hurl insults at a person who is fighting for his life?” Are we losing our empathy?

Yes I truly believe that we are raising a generation with very little empathy. Unfortunately we live in a time where the younger generation is so self-

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You have often been very vociferous on social media. Are we turning into a social media addict society?

I was lucky enough to experience two eras in my music and personal life. One which was prior to the social media explosion from 2000-2007 and 2008 - to date. In hindsight, I say it would have been wonderful having social media during that time as I would have had more real time engagement with my followers and the experience might have been better documented online. I was under a magnifying glass during that time especially how my career developed with my deal with BMG 2 years after I came 2nd in Eurovision but it wasn’t to the point that it felt so judgmental. In today’s world everyone has an opinion. Even the ones who absolutely have no clue what they’re talking about assuming this and that. It’s also interesting and at times sad to see how addictive the virtual world has become. Don’t get me wrong it’s a great tool but you can easily lose yourself and it can also change ones personality. Once again it has to boil down to striking the right balance. The most thing I love about social media is that I get to be in close contact with my followers. The thing I hate most is that it’s ever changing and adapting takes time. Also the fact that sometimes some hateful comments can get to people. I can handle it today because I’ve developed a tough skin but it’s just horrible to see how some people find no shame in being so hateful. I believe it has always existed. It’s now simply exposed for all to see. I am also not a fan of journalists sensationalizing what someone says or adding misleading titles to articles to get their clicks and views. That is not on, it sheds a bad light on whoever decides to speak out and is very misleading to the reader.

A telier

I recently read you firmly believe that the longevity of those who want to thrive in the arts scene depends on what you term as USP - their unique selling point. Can you elaborate?

Yes I truly believe that to safeguard the longevity one stands a better chance with identifying the USP. It has to be real because if it’s real it lasts. If it’s put on, thought or imposed it simply will not last. Every artist at one point in time looks in the mirror and asks who am I? What am I trying to say with my art and is it coming across well? Not everyone manages to find the right path but that’s mainly because the questions asked are not the right ones. Every artist surely believes they have something deep down which makes them different and drives them to push their craft further. Sometimes it’s not a matter of ‘IF’ but ‘WHEN’.

The Indian Playback singer, Sonu Nigam recently commented, “You don’t have to be the sexiest girl or the most talented person to have the X factor. X factor is something you are born with that is your own.” To what extent do you agree?

The X Factor is very similar to what I said above, having The USP, unique selling point. There is one difference though when you apply it in industry terms. There is always the thing you are born with, that can never be thought or imposed but there are many other boxes to tick besides the USP to stand a better chance in the industry such as personality, work ethic, attitude, image, musical background, repertoire, people’s pull or charisma etc. So I agree to an extent but there’s more that is needed to secure longevity and a place in the industry in my opinion.

This would explain why previous X factors acts that won and shot to fame, others who didn’t win but still ended up being some of the biggest acts in the world and those who won and fizzled out possibly not having the other ingredients required to maximize on their success.

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A telier

Can X Factor really be a life changing experience for some?

Life changing is a big word. It depends what this means to the individual. I’ve had my own personal X FACTOR experience not on the show itself but when I started taking this seriously after the 7th Wonder days. I was told things that no one ever told me. They were harsh but they were professional. It was ultimately up to me what I wanted to do with that professional advice. On a personal level I sponged off every bit of professional advice till I started to “get it” and develop my own gut feeling. So in that case it was surely a life changing experience as can be in the case of that individual who uses all this constructively and this is meant for them. It can also be a life changing experience for those who realize this is too much for them. Either way it is always up to the contestant what to make of this experience.

On the other hand, is X Factor turning out to be a life changing experience for you?

I am loving every minute of it. I truly am. It’s so rewarding discovering new talent and seeing them grow. I'm also very happy to be doing this with fellow judges I care about. The X factor team, both local and international, are also on top of their game so the general feeling is full of passion, hard work, commitment and lots of respect for one another. So this is definitely an experience I am cherishing and truthfully feels like home, just like recording an album feels like home.

How does the festive season fit into your agenda?

To me the Festive Season is one which allows me to spend quality time with my family. It’s also a busy time for me and the band as we play live very often. Last year I played a sold out concert two days before Christmas. This year we are closing off the V18 events with a big open air concert on New Year’s Eve so we will also be busy preparing for that. I love the festive season, so I’m really looking forward to it.

What’s next?

Well, X factor ends end of January but until then I have 2 more music videos to release, a big concert and other smaller events . After January, I’ll be shooting more music videos from my double album NO SINNER NO SAINT, planning the summer concerts and other music projects.

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A new identity for the Auberge d’Italie

Some modern art museums of the last decade have been criticized for allowing new dramatic architectural design to upstage the art collections inside. Indeed, one of the primary issues of an art museum is how to use the building to show art to the best advantage. Architectural challenges have to be tackled also when dealing with a historical building since one has to respect the heritage value of the property while creating the appropriate space for the exhibits. The long journey to adapt the Auberge d’Italie into Heritage Malta’s new art museum MUŻA have addressed these concerns and much more, leading to an intriguing fusion of history, architecture, culture and art.

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A telier

The building of the Auberge d’Italie is endowed with 450 years of history. It was originally built to house the knights of the Order of St John from the Langue of Italy.

However, along the centuries it served various functions, including acting as military quarters of the French invaders, as a military and civil administration building for the British rulers, as a study and a residence for artist Vincenzo Hyzler, as a store of the notarial archives, as the Valletta Museum, as a courthouse, as a General Post Office, and as the offices for the Ministry of Tourism and the Malta Tourism Authority. Eventually, in 2011, the auberge was chosen to become Heritage Malta’s new art museum.

Due to the changing functions of the building along the years, structural changes had to be effected. These alterations became evident during the recent extensive restoration interventions which were necessary to bring the auberge back in shape in order to serve its new exciting identity. As envisaged, the restoration of the Grade 1 historical building provided its challenges and surprises.

Adequate measures were taken to retain and make legible all the surviving layers found within. Re-discovered spaces were re-introduced or given an appropriate function. These include the discovery of traces of the demolished Scala-Grande, which was the main staircase that once connected all the floors of the building, and the revealing of the original auberge’s kitchen with its hard stone flooring, and the curved marks of the hood on the walls of what was the kitchen fire pit still holding remains of soot.

While housing and exhibiting the national art collection at its best, MUŻA’s alternative concept necessitated the creation of new spaces where the public could wander freely inside. This led to the development of a practical passageway between the two museum’s entrances on Merchants Street and Jean de Valette Square which blends MUŻA with rest of the capital city. Likewise, the public can now enjoy the splendid architecture of the impressive historical main courtyard. The museum is also equipped with a cafeteria and a dining room, a tourist information office, and a concept store with quality products.

Both inherent and newly introduced green-powered measures in this property were used to accentuate the concept of a contemporary sensibility. Optimising on the intrinsic passive energy efficient features already present in the historical building, new systems were installed to retain an environmental friendly atmosphere especially in the case of extreme weather conditions. All these transformations were in line with the modern concepts designed for MUŻA. As the chosen name indicates, the new art museum is all about inspiration, creativity, participation and empowerment. Distancing itself from the idea of a sacred space designated for art experts, MUŻA is presenting itself as a cultural venue which blurs the boundaries between the objects and the public.

This new approach which intends to attract individuals who are not habitual visitors of art museums is clearly evident in the sparing use of text, particularly within galleries, which presents clear information that can be easily understood by all audiences. Technical information was also limited to what is absolutely necessary, while ideas were openly presented in short sentences.

MUŻA’s collection presents inspiring stories with which to engage with a broad range of stakeholders, particularly communities. While displaying the best of the national collection, more than masterpieces and seminal works of art, the main aim is to enable access and participatory experiences. MUŻA is a €10 million project, partly financed by the European Union, and partly by the European Regional Development Fund - European Structural and Investment Funds 2014 – 2020. Following its official inauguration on 10th November, MUŻA successfully hosted the international conference of the Network of European Museum Organisations (NEMO) and a series of events from the Mahalla Festival held for the first time in Malta.

MUŻA opening hours: from 9:00hrs to 17:00hrs (last entry at 16:30hrs). Restaurant, cafeteria and catering facilities will be open between 8.00hrs and 22.00hrs. The main courtyard is a public space accessible to all. More information is available at Heritage Malta’s website www. heritagemalta.org

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A Baroque Experience Interview with Kenneth Zammit Tabona

Artistic Director at Valletta International Baroque Festival & Artistic Director at Teatru Manoel

D

erived from the Portuguese barroco, or “oddly shaped pearl,” the term “baroque” has been widely used since the nineteenth century to describe the period in Western European art music from about 1600 to 1750. This is an era when architecture, art and music took their toll to provide some of the most magnificent wonders of the world. Baroque owes its roots as a Counter-Reformation design adopted by the Roman Catholic Church in Italy which quickly spread through the Roman Catholic countries of Europe.

This extravagant architectural technique reacted against the conservative rigidity of Renaissance design and was often used to express the triumph of the Catholic Church and the power of the state. The Baroque style symbolized prestige, power, and wealth, with its curved forms, the colossal size of the buildings with their wide staircases and airy rooms, the coats of arms and broad interior courtyards.

Baroque quickly also saw its way to Malta thanks to the resident architect Francesco Buonamici who introduced Baroque to Malta in 1635, when he designed the Jesuit Church.

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I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature.

The baroque is the final stage in all art, when art flaunts and squanders its resources.

Jorge Luis Borges

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Wishing to update their city to the standard of the finest capitals of Europe, the Knights brought a new elegance to the streets of Valletta with the construction of new churches, remodelling the facades of the auberges and public buildings, and dressing the fortification gates with Baroque decoration. Baroque architecture and decorations, which surely contribute to Valletta's Capital of Culture status, vary from the magnificent St John's Co-Cathedral to the entrance of the city's police station and almost every street or corner has an example. The Church of the Jesuits, Auberege de Castille, the Museum of Fine Arts, Manoel Theatre, the Biblioteca, L'Hostel De Verdelin and the many churches, chapels, auberges and palaces which now serve as galleries and museums and the Palace Armoury which houses some of the country's most treasures, all for us to marvel at. To celebrate this amazing period in the country's history, Malta organises the Valletta International Baroque Festival.

I recently met up with Kenneth Zammit Tabona, artistic director at Valletta International Baroque Festival and artistic director at Teatru Manoel.

A telier

Kenneth is no new face in the local cultural scene. He is indeed an eminent Maltese artist and illustrator. He has over the last thirty years produced a body of work which has further accentuated his abilities with the pen and the brush. Zammit Tabona’s paintings have long been part of important art collections and remain ever popular. His work has also been exhibited abroad at the Maltese Embassies in Berlin and Paris in 2005 and 2010 and Harrods in London in 2012.

Kenneth Zammit Tabona is a well known writer too and is the founder president of the Friends of the National Museum of Fine Arts. He is Vice President of Perspectiv, the European Association of Historic Theatres and on the Board of REMA, Réseau Européen de Musique Ancienne. He is also the former president of Historic Theatres. Kenneth is such a colourful person keen to share his knowledge and passion for culture. Culture is his life and is visible in his approach, in his attire and above all in his maniacal attention for detail.

We quickly touch on what is the main objective of the Valletta International Baroque Festival to which he notes that, "We are a Baroque nation! We're very much steeped in baroque, perhaps without even knowing it. It's in our architecture, our art, festas and other key elements which derive from the 300-odd years we spent basking in the baroque aesthetic introduced to us by the Order of St John."

He quite frankly sees the Baroque Music Festival as "filling in a 'missing piece' of our Baroque heritage, as the music of the period seems to have disappeared from our radar." One of the most enthralling things about Baroque music for Kenneth is ‘the voyage of rediscovery’ – “There’s so much baroque music that was written for kings, princes, dukes, counts, cardinals, that wasn’t meant for the public, and that is only coming to light now.” On the other hand, he’s fascinated by new Baroque compositions, works inspired by Baroque, as well as variations on the most well-known pieces. It is for this specific purpose that the Valletta International Baroque Festival was set up

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in 2013 to create a unique annual January event that evokes the various shades of local and international baroque music.

It’s just so comfortable. The Manoel Theatre of course, is the centrepiece of everything – this uniquely Baroque gem that we have.”

Kenneth points out that there are dozens of Baroque festivals in Europe but very few that have within minimal distance, an 18th century court theatre, a church like St John’ Co-Cathedral, the Salon at the Archaelogical Museum, the churches, the palaces, and the overall ambiance of Valletta. "People attending the festival can wake up in the city, go to a concert, go to lunch, go back to their hotel rooms to rest, have dinner and then go out for another concert.

He insists that Baroque is not a term limited to Valletta yet also pertains to other impressive locations such as the Metropolitan Cathedral and the Aula Capitulare in Mdina, the Verdala Palace and the Malta Maritime Museum in Vittoriosa. In this light, the Festival will again this year venture out of Valletta to other baroque venues including Mdina, the old Siculo-Norman capital where one can still see the columns of roman temples in its foundations, Birgu

A telier paean to the glory of the most illustrious chivalric order the world has ever known. This is what our midwinter festival is all about." I ask him about the nature of the Baroque Festival audience to which he notes that during the last years he met many people from Malta and abroad who attend the Baroque Festival almost exclusively. While the local audience transcends to most of the musical events organised by the theatre, he admits to have made friends with a good number of music lovers from overseas who have made January into a yearly appointment in Malta.

He notes that, "My general impression is that most people who come to this festival come because of Valletta’s unique ambience its churches, theatre and museums. They are highly cultured individuals with a keen appreciation of music and art not to mention history too. All of which Valletta and the festival has in abundance."

(Vittoriosa) and Senglea (L-Isla) which lie across the Grand Harbour from Valletta and form part of what is referred to as The Three Cities and Rabat, Għaxaq, Qrendi and Żejtun – all boasting exquisite examples of Malta’s baroque heritage. The Festival seeks to highlight the extensive spread of Baroque on the island. Kenneth points out that this initiative gives justice to Baroque in other villages and towns by involving the band clubs. "This is what makes this festival so special. Listening to a great Handel or Bach work in a black box may be edifying enough, however it will never attain the magic of being set in a cathedral that is a heraldic and hagiographic

In conclusion, I ask Kenneth on how we can ensure a better divulgation of our baroque legacy to which he promptly stresses on the importance of the young generation. "Culture is the key. What are we without any form of culture? We are simply cavemen.

"He adds that emphasis should be on children. "You cannot target children at the age of 16 as you will seriously risk to create an eternal hatred towards baroque culture. Systems of Knowledge comes at a very late time in a student's life thus having little impact (if any) in generating an interest in the subject. It needs to start from an earlier age. Culture grows with the person. It also depends on how you present it. I remember my father taking me through stories which are still stuck in my head."

The festival is certainly raising the general benchmark of local music making as more and more Maltese musicians take up the baroque challenge.

It has also placed Malta on the international circuit as agents and musicians from all over Europe and even America write in to take part in our festival.

The success of this festival has pervaded the general artistic level of music making in Malta.

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Living my Truth On and off the catwalk Interview with Karly May Naudi

T Photos credit Ante Bacak

his year's Malta Fashion Week sent a strong message to society when Karly May Naudi walked down the catwalk.

Those few steps made her the first transgender model to walk at Fashion Week. Her bold action has clearly shown that beyond socio-political boundaries lies opportunities for an integrated society which is not dictated by prejudices and discrimination.

Getting to this point wasn't an easy journey, and although she's experienced her fair share of bullying and sexual harassment throughout her life, she kept on fighting for her rights and of others who to date fear to stand up for what is theirs. Indeed, Karly May is on a mission to make sure that her walk down the mile will not be a one off initiative but rather the first step for a better society. Atelier spoke to Karly May Naudi on her life, her ambitions and her plans for the future.

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A telier Who is Karly May? Karly May is an extraordinarily ordinary being who is a university student, an emerging model, HR professional, daughter, sister, aunt, activist who also happens to be a transgender woman.

In what way does fashion help push boundaries?

The fashion industry has always been responsible for breaking taboos and bringing marginalized ideas into the mainstream. Both luxury brands and mainstream retailers have incorporated models from all races and from a wider spectrum of gender identity. There’s an unprecedented casting of transgender models and this gives visibility which helps in the portrayal of transgender people.

Hari Nef, Geena Rocero, Carmen Carrera and Lea T. Why does their presence on the catwalk make the news?

Their presence make headlines because transgender models are still “breaking ground” by being casted for the first time in spaces that have only become open to them recently. I also know that the fashion industry is often accused of band-wagoning and adding a little diversity for positive press, but I believe positive outcomes can still be the result of less than honourable intentions. People who are in the fashion industry should always strive to use their influence to make a difference and bring significant issues to the forefront of their respective audiences.

What has changed from a socio-political point of view on the island?

Transgender people living in Malta can rely on one of the most progressive gender legislations in the world. In April 2015 the ‘Gender Identity, Gender Expression and Sex Characteristics Act’ (GIGESC) was approved unanimously by Parliament, resulting in becoming the first legislation to recognize the rights of the transgender community in Malta. This law made it easier to officially change one’s gender, as a transgender individual will no longer have to go through gender reassignment surgery to change gender. The latest development for the Transgender

community was the opening of the much awaited gender clinic which will be offering multidisciplinary services to transgender individuals.

These laws have helped even with inclusivity and awareness however, I still feel that there is a gap between the honourable essence of these laws and public knowledge about transgender people.

In a recent interview you noted that 'no single thing defines us.' Can you elaborate?

Being a transgender woman has made me so aware that there’s not just one way of being. Every one of us is an individual and unique. Transgender people, like other people who form part of a minority, tend to be pigeonholed and have our lives condensed to only one factor. I think it’s about defining our choice of being on own terms while embracing and loving the roles and characteristics that make us uniquely ourselves.

What does beauty mean to you?

Personally I believe that beauty comes from achieving self-love and self-acceptance. I must admit that this is still a struggle for me and is something that I must nurture and do consciously daily.

Why is Laverne Cox such a source of inspiration to you?

Growing up, I didn’t have any transgender women to look up to. Many cisgender women inspired me in several ways, however I knew that their stories didn’t fully reflect my life experience. In spite of her rise to stardom, Laverne Cox has always stayed true to her identity. Having suffered a lot of traumas, she used her platform to shed light on racial issues and struggles faced by the transgender community. These factors got me thinking about my life experiences and my platform. Her example inspired me to launch the Karly May social media platforms.

In what way can you be a source of inspiration to others?

I still struggle in being so visible since I personally experienced my fair share of bullying and sexual

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harassment throughout my life. I still remember the sense of not belonging and confusion that accompanied me through my transition years. It is for this reason that I’ve decided to use the little spotlight and privilege that I have to help inspire others like me who were made to feel unworthy in their past, regardless of their appearance, race, religion, sexual orientation and gender identity.

Whilst I know that transitioning is not a singular experience, I hope that my experiences will help others who are going through this and other struggles.

What is the most important thing you hope to accomplish as an activist for the transgender community?

I hope my visibility and activism empowers the younger generation and helps in drastically reducing harassment towards transgender individuals.

What's next for Karly May Naudi?

To graduate from the University of Malta with a Bachelor’s Degree in 2021. Regretfully, education was something I neglected in my transitioning year so this is an important milestone for me. I want to also continue to broaden my platform so as to be able to reach more people and raise more awareness.

In all honesty I’m still coming to terms with all the unpredictable positive changes this year has brought.

Even if it is not in my nature, I am learning to embrace this unpredictability and enjoy the journey we call life.

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Contracts

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Retail

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Design

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Joinery

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www.cieffeprojects.com.mt | info@cieffeprojects.com.mt |

Cieffe Projects

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PHOTOGRAPHY

Photography, as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution.

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Dancer: Matthew Dane Livingston

The Nude Side of Life Interview with Kris Micallef

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ris Micallef has over the past years earned a reputation as one of the most respected award-winning fashion, architecture and fine arts photographers on the island. His prolific work is considered by many critics as pure class which highlights his incredible skills behind the lens. His reputation is not limited to Malta but has also extended beyond our shores with his works being published in various magazines in Europe, the Middle East and also the United States. He has also exhibited his works at Malta House, Brussels (2012), Kvartira 57, Kyev (2012), Hammam Al Ayn, Jerusalem (2013), Mahmoud Darwish Museum, Ramallah (2013), Salle Jean Despas, Saint-Tropez (2013), Blitz, Valletta (2014) and REGNVM at Bozar - Centre for Fine Arts, Brussels (2017). Kris shared with Atelier his passion for photography, what attracts his photographic lens, and his interest in male nudes.

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Who is Kris Micallef?

I think I am, above all, a wanderer. I travel a lot, I advance, sometimes in a straight line, other times on random paths, I retreat and retrace my steps on occasion, I explore common, well-travelled roads but also unchartered territory. Most of all I am always looking around, watching. And then, when I can, I create my own, fictitious world.

What attracted you towards photography?

I studied Architecture, which made me totally aware of the importance of light, how it moulds a form, creates texture or composes a scene. As a photographer, you are not choosing materials, like an architect does, and creating a composition with them. You are creating a composition with light itself which is already there, all around, and with varying qualities and intensities, and waiting to be captured.

With photography, the creative process is less about ego and more about empathy with others, with the surroundings or with the subject. I felt it suited my character much better, and I guess that is the basis of my attraction for the medium.

Model: Luke Azzopardi

Tell us about your style.

I am not very keen on declaring that I have a style, which is a reductive way to look at a photographer’s work. I would say that my style changes according to the project or the subject. What is constant however is the empathy I have for my subjects and my wish to bring out their innermost, hidden energies which vary considerably. Light is the medium I use to express these differences, and the play of light on surfaces, whether the skin of one of my nudes or the plaster on a wall, is common to all my photos. You might say that it’s my style.

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Tiffany Pisani wearing Pippa Toledo Jewelry

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In a recent interview you noted, "It's okay to be yourself and embrace individuality" Can you elaborate?

We are living in a very strange moment when the expression of our individuality is encouraged and enhanced especially on the platform provided by social media. The irony is that the more individualistic and narcissistic we become, the flatter is the result that is projected on the screen which has become our window to the world. When I talk about individuality, I mean a real, personal individuality, which is not a virtual one that panders to popular taste that requires the constant, and instant affirmation of the invisible public.

Diane Arbus once noted, "A picture is a secret about a secret, the more it tells you the less you know.” To what extent do you agree?

A picture is about what you see, but also about what you don’t see. I would hazard to say it is actually more about what you don’t see. So I agree with Diane Arbus’ statement. It is a secret about a secret about another secret.

What should a photo tell?

It should tell what a photographer has to say.

In what way does a pair of sunglasses give you a different visual perspective?

Our interpretation of the world surrounding us is created in the brain after its stimuli are captured by the lens of our eye. Light, colour, form all have their say in the story that is built up in our head and they all transmit their specific messages. Colour, for example has its own psychological message. Red comes forward, for example, while blue recedes.

The renaissance artist was an expert in creating visual perspective not only using geometry but also the potential of colour composition. So if a pair of sunglasses changes the colours of the forms in your line of sight, the chances are the visual perspective you will see will change as well..

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What makes male nudes an attractive theme for a photoshoot?

I guess you are asking me to write a book. The whole history of western art starting from the Greeks is based on the male nude, as a subject, as a symbol, as a system of proportions, as a vehicle for transmitting emotion, as a text for telling a story, as an exercise in drawing. The attraction of the male nude is infinite and I am only participating in the continuity of that tradition with the ambition, presumptuous as it may sound, of contributing, in a very small way to it. In particular, I am fascinated, as my underwater series illustrates, by the capacity of the body to contradict its own limitations and to conjure up other worldly sensations and visions.

What attracts your photographic lens during the Festive Season?

Naked snowmen :)

'And every flower bears your name'. Model: Maciej Gorecki

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Fashion through the Lens Interview with Alessandro Dal Buoni

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lessandro Dal Buoni is one of the most respected photographers in high-end fashion circles. His unique ability to capture detail did not go unnoticed attracting the likes of Dior and Rei Kawakubo. He has also photographed for many magazines such as Amica, L’Officiel Italia, Rolling Stones, i-D and Dazed & Confused. Alessandro is considered by many a genius who turns every shot into a real work of art. His work conveys clarity, purity and always aims for what is essential and avoids what is unnecessary. Alessandro shared with us his love for fashion photography, his approach and his plans for the future.

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Several fashion critics note that your fashion photography has unmistakable softness and grace.

To what extent do you agree?

I agree and consider that a great compliment. A certain gentleness and natural grace are aesthetic elements I deliberately favour when composing an image.

Where does your photographic inspiration come from?

I have many different interests, from art and music to collecting books, furniture and objects, to very specific subjects (like Cold War youth organisations or Scandinavian silver jewellery from 50/60’s). They all indirectly resonate and inform my aesthetic sense somehow.

I find contemporary dance particularly inspiring (Anne Teresa de Keersmaeker, Pina Bausch, Sidi Larbi Cherkaoui). I also have a great interest in cinema.

In what way do you tell a story through photography?

I try to build a vague mood, a sort of abstract story or palette made of visual hints to certain situations or cultural subtext. Nothing strict, just loose inspiration.

It could be anything, I once used a pair of Victorian earrings as mood.

Casting is crucial.

I work closely with the stylists, as the fashion they select has to be in tune. Same for set design.

It’s all about coherence and discipline when composing the image and fine tuning the various elements in it.

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In a recent interview, you noted that photography allows you to perpetually have new challenges. In what sense?

Working with clients is an interesting challenge. They all have different codes and strategies, and it takes great care to incorporate those codes into the image without compromising my own visual aesthetic.

It’s like Jørgen Leth having to comply to Lars von Trier’s five obstructions.

You also noted that editorials and advertising, "Is a space for exploring fantasies and experimentation." Can you elaborate?

The mood of a story is like a mini abstract script.

Researching is like diving in different subjects and realities.

I personally approach the mood with a sort of method acting. If I don’t feel it or let it influence me, it will not filter through and affect the image in a meaningful way.

Nevertheless, in real life, you like simpler statements right?

Absolutely, I favour subtracting rather than adding.

Refining, purifying, sculpting till only the bare essential is left.

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In what way do you find a certain purity in the photographs that you take of young inexperienced models?

Apart from the novelty factor of a fresh new face, youth and awkward inexperience can sometimes be an advantage, when trying to convey purity or a certain bare beauty.

At the same time though, an actor or experienced model can convey powerful subtext by subtly controlling their body language.

I’m always amazed how gracefully expressive are the hands of actors while shooting a portrait.

What role does light play in photography?

In my case, it is essential. Selecting a suitable natural light and controlling natural or artificial light is probably the most crucial part of building an image for me.

It profoundly affects the way the subject is portrayed, and instantly sets the tone of the image.

What challenges does winter offer to photography?

The cold and wet weather is challenging when on location. Sometimes having to shoot fashion that is completely unsuitable for the weather is not an easy task for the models and the team. But sometimes it adds a degree of drama that makes the image epic.

It’s also a question of light. I don’t like harsh daylight, but overly dull light is not good either.

What's next on your agenda?

Trains, planes and hotels.

I’m always travelling between cities for shoots.

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This life is what you make it. No matter what, you're going to mess up sometimes, it's a universal truth.

But the good part is you get to decide how you're going to mess it up. Girls will be your friends - they'll act like it anyway. But just remember, some come, some go. The ones that stay with you through everything - they're your true best friends. Don't let go of them. Also remember, sisters make the best friends in the world. As for lovers, well, they'll come and go too. And baby, I hate to say it, most of them - actually pretty much all of them are going to break your heart, but you can't give up because if you give up, you'll never find your soulmate.

You'll never find that half who makes you whole and that goes for everything.

Just because you fail once, doesn't mean you're gonna fail at everything. Keep trying, hold on, and always, always, always believe in yourself, because if you don't, then who will, sweetie? So keep your head high, keep your chin up, and most importantly, keep smiling, because life's a beautiful thing and there's so much to smile about.

Marilyn Monroe

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Gaia & Nina