Unique Issue 18

U N I Q U E

ONE CENTURY IN A DECANTER

Four generations of cellars masters have crafted twelve hundred eaux-de-vie to establish Louis XIII as the most prestigious spirit on Earth. A closely guarded secret since 1874.

www.LOUISXIII-cognac.com

LOGICAL ONE

White gold edition

Elegant, high-precision, fine Swiss watchmaking

Featuring a supremely hand-decorated in-house movement with revolutionary chain-and-fusee style constant-force mechanism and push-button winding.

www.romaingauthier.com

Stay Exquisite

Experience a modern sanctuary in natural splendor at The St. Regis Maldives Vommuli Resort. Nestled on a private island in an Indian Ocean atoll, this intimate retreat offers unparalleled access to the region’s thriving marine life.

The St. Regis Maldives Vommuli Resort Vommuli Island Dhaalu Atoll Republic of Maldives t. +960 676 6333 stregis.com/maldives

THE ART OF SEEING

BECAUSE HE’S WORTH IT

FLIGHT TO VENUS

Sofitel Legend Metropole Hanoi presents 5-star luxury

Condé Nast Traveler “2018 Gold List”

PATA Grand Award 2017 “Heritage & Culture”

World Spa Award 2017 “Vietnam’s Best Hotel Spa”

Welcome to Sofitel Legend

Metropole Hanoi, the icon of luxury in Hanoi since 1901

v Ideally located near the Opera House & Old Quarter

v Character, history and tranquility in a romantic setting

v Award winning Vietnamese, French & Italian cuisine

www.sofitel-legend-metropole-hanoi.com 15

Email: h1555@sofitel.com

COMPENDIUM

TESTIMONY TO THE ITALIAN SOUL

Despite being strangers to the world of fashion, Carolina Boarini and Matteo Rodolfo Milanesi succeeded in creating the most exclusive bags in the world. Boarini Milanesi is an Italian Maison whose luxury handbags are said to be the only alternative to the classic Birkin or Kelly. The finest crocodile leather, the exceptional research of unique colours and the extraordinary attention to detail make these exclusive handbags worth thousands of pounds, and their value is set to increase year after year. Standing behind the success of the brand are the two founders and designers Carolina Boarini and Matteo Rodolfo Milanesi. Young, passionate and extremely talented, this Italian duo have managed to create something truly exclusive, by following nothing but their own path. Both were born and raised in the beautiful medieval city of Bologna, which is located in the same region that gave birth to Enzo Ferrari and Ferruccio Lamborghini, but neither have ever studied design, nor fashion. They spent years doing research, becoming familiar with the skin types and able to recognise at a glance the best ones. They carefully chose premier artisans from Tuscany to become their suppliers, surrounding themselves with a team of trusted and devoted partners. Their creativity is boundless. If you take a stroll in Bologna on a sunny Sunday morning, you are likely to find them walking around town, hand in hand, taking inspiration from ancient monuments and historical buildings.

Ms Boarini and Mr Milanesi decided to launch their brand in 2016, only when they felt they had reached absolute perfection, because it’s easy to follow seasonal trends that will soon be forgotten; the real challenge is to create something immortal, a masterpiece that will last forever. Boarini Milanesi create no more than 300 bags per year, ensuring their exclusivity and rareness. This is why these handbags are not sold in shops, nor online. They are only available at Boarini Milanesi signature events, the “Fashion Show Aperitivos”, the last of which was held at 5-star hotel Grosvenor House in London, or by booking a Boarini Milanesi Private View with the Maison’s experts based in Milan, London, Switzerland and New York, a tribute format to the golden age of Haute Couture. When you buy a Boarini Milanesi, you are not simply buying a bag or a briefcase or a wallet; you are living an authentic experience of exclusive Italian luxury that you can also choose to share with your partner or your friends. The Maison’s Private Views start, indeed, with a ride on a luxurious car that takes you to your destination: the intimate suite of a 5-star Hotel or the fancy lounge of a high end private club. You and your friends will then sit back and relax, with a glass of champagne in your hands while the Maison’s experts unveil Boarini Milanesi’s collection of luxury handbags and models show you how to wear them with different outfits, reflecting impeccable Italian style. Boarini Milanesi lets each client live a 360-degree experience and, in doing so, the Maison managed to acquire, in a very short time, a consistent number of loyal customers among which they can count VIPs, influential entrepreneurs, art collectors, members of royal families etc.

There are rumours that Boarini Milanesi’s future will expand into Haute Couture, a field that the Maison has already explored for some of its very special clients. For now, the brand is certainly revolutionising the luxury market with that unmistakable touch only Italians master, and it’s no wonder that its beautiful creations have been worn by the crème de la crème of high society.

One of Uniques favorite Luxury brands, BUBEN&ZORWEG, has launched their new line in safes - The Orion. Following on from the success of the Galaxy collection, the luxury watch and timepiece-safe maker have added another bright star to their constellation of beautiful, state of the art security systems.

Orion is one of the most conspicuous and recognisable constellations in the night sky, and was named after the son of Poseidon, who according to Greek mythology was one of the twelve Olympian deities of the pantheon. The credo at BUBEN&ZORWEG is that a safe doesn‘t necessarily have to look like a strongbox. This is evident in the Galaxy safe range, and the new Orion is the latest compelling example of this creative philosophy, where shape and materials come together to produce a remarkable creation that enable men to savour and safeguard their most treasured possessions.

The exterior of finest nappa leather, elegantly stitched and featuring ornamental seams, surrounds state of the

art security technology. And it doesn't just cover small surfaces, but almost the whole safe is dressed with this special Italian leather accentuating its striking inherent design features. A particular eye-catcher in the Orion safe collection is the copper coloured seams that highlight the different levels formed by the cushiony layout of the leather over the safes surface. Together with the stainless steel top decorated with leather inserts and BUBEN&ZORWEG initials, these fine details further underline the exclusive character of the Orion safe collection.

But regardless of these detailed design elements, the Orion, as is usual with BUBEN&ZORWEG, is completely up to date with the most recent technical security standards. The German high security lock, which is also covered in Italian Nappa leather, protects any precious contents from unauthorised access and falls under the demanding VdS I Security class.

Additionally, the optional BUBEN&ZORWEG alarm and GPS tracking system will add to the overall security of the

Orion and permanently inform the owner of its location, while on the inside a whole world of possibilities unfolds, from different drawers to Time Mover® watch winders and state of- the-art LED lighting with fading technology.

The influence of Orion made itself, particularly palpable during the debut of the new safe line where the numerous orders resulted in its full integration in the current BUBEN&ZORWEG product range.

Available in 4 different sizes and four different colours, the Orion is a joy to behold. A joy that plays it safe and that will appeal to the discerning and fastidious eye of the connoisseur that falls under the influence of Orion.

QIVIUT & CO is setting a new standard in luxury outerwear, and have gained both notoriety and acclaim for introducing fibre from the ARCTIC MUSK OX in to the luxury fashion arena.

The Musk Ox is an extremely scarce mammal that survived the ice age, and this is where QIVIUT & CO’s story begins. Undeterred by the challenge and harbouring the desire to do something that had never been done before, founder ROBERT GOULD set out on a journey. A journey not only to create a new standard in outerwear, but to also bring both the outer and under hair of the musk ox, known as “qiviut” (KIV-ee-uht) to the attention of the world.

QIVIUT & CO’s flagship product is The QIVIUT JACKET. It, like all items in the QIVIUT & CO collection, is created with fibre from the Arctic Musk Ox, which is now found in only three of the harshest climates on the planet: Alaska, northern Canada and Greenland. The Qiviut Jacket uses the animal’s outer hair, which has protected it for millennia, for unsurpassed insulation and the amazingly soft under hair, known as “qiviut" (KIV-ee-uht) for its knitted trim. It’s a combination of form and function that has never before been attempted with musk ox fibre until now.

Lightweight, comfortable and resilient: the superbly crafted jacket’s versatility is one of its key assets. With its slim profile and unsurpassed insulation qualities, it is abundantly superior to its feather and synthetic filled contemporaries. The addition of the detachable insulated hood, arctic collar and wind baffle hood trim make it easily adaptable to all social situations and weather conditions. From the city to the slopes, The Qiviut Jacket is the smart choice for the refined men and women of the world.

Only a select number of these gender-neutral limited edition jackets have been produced, each with a certificate of authenticity, identifying the limited edition jacket number. The Qiviut Jacket comes in sizes small through to extra large and is available for worldwide shipping via the brand’s website and at selected independent stockists. New for Winter 2017, QIVIUT & CO has also unveiled its debut accessory line. The collection comprises of head and neck warmers in autumnal tones including rich aubergine, warm neutrals such as pura, glacier, intrecciata and earth as well as the calming tones of azure. The head warmers and polka dot neck warmers are also reversible, giving two colourway options and thereby creating versatile winter staples that pair easily with an array of different outfits.

All items from the new AW17 accessory collection are handknitted by Italian artisans and made with qiviut. Each item therefore brings with it unparalleled warmth and softness as the miracle fibre is 8 x WARMER THAN WOOL and SOFTER THAN THE FINEST CASHMERE. It goes without saying that each and every piece from the debut line is a truly unique accessory item that provides unsurpassed comfort, style and exclusivity to the wearer.

Due to the scarcity of qiviut fibre, which can be harvested only during the musk ox’s spring moult, just a very limited number of the seven varieties of head and neck warmers can be produced for this season. They are available with FREE SHIPPING globally, exclusively via the brand’s website.

Publisher of UNIQUE Magazine - Dean Sanders, described this as “the most comfortable and perfect coat I’ve ever had the pleasure of wearing”. Not a young pup anymore, he also

divulged that despite living in a country where the winter is harsh, he will often only wear a t-shirt with the coat in subfeezing conditions. We suggest you by one of these coats fast as they are strictly limited.

ICONIQ Motors, together with W Motors, have proudly announced the opening of the first co-branded flagship showroom and experience centre in the world, located at the premium district of City Walk, Dubai, United Arab Emirates.

Described as an “urban living” destination, City Walk is nestled in a prestigious neighbourhood close to Dubai's main highway “Sheikh Zayed Road” and offers a perfect combination of luxury living, shopping, entertainment and wellness options, within one integrated space.

“Today marks a huge milestone for the ICONIQ story, we are thrilled to open our first showroom and design studio. ICONIQ will surprise the Chinese market by incorporating supercar styling and aesthetics DNA into an electric vehicle,” said Alan Wu, President of ICONIQ Motors.

The new flagship showroom and experience centre concept was developed around the W Motors and ICONIQ Motors lifestyle values and will offer a space not only to exhibit

the latest vehicles, but also to become a social hub for car enthusiasts to learn more about supercars as well as the future of electric mobility and disruptive autonomous applications.

A true reflection of brand values, this new space was conceived and developed by iMagine Interior Decoration LLC, who have successfully combined functional design with artistic craft to create a unique environment enabling guests from all around the world to immerse themselves in W Motors and ICONIQ Motors’ exceptional universe.

Gathered guests were able to witness, exclusively, the regional premiere of the ICONIQ Model SEVEN in both its Premium and VIP editions after their successful debut at the acclaimed Shanghai Auto Show earlier this year. Designed by the W Motors design studio in Dubai and engineered by Magna Steyr, the two fully electric long-range vehicles are developed around the passenger with the purpose of introducing an AI-connected and personalized experience on the road.

"Our Connected Vehicle Platform empowers SEVEN with an intelligent brain to deliver a unique customer journey and enables ICONIQ to build global, scalable solutions in the future," said Michael Wang, Director of Microsoft China Cloud Innovation.

Both companies have also jointly unveiled the “L5 Autonomous Concept”, which is currently in its development stage through the collaboration with world-class engineering and technology companies, such as AKKA Technologies along with several other multinational partners. With the current AI capabilities, ICONIQ has gained competitive advantage towards L5 solutions and will launch a first demonstration version for the highly anticipated Expo 2020 in Dubai.

"We’ve got a great team here, and it’s an exciting time for us. The investment into the ongoing L5 project further highlights our dedication to giving consumers the very best experience and has allowed us to improve the level of products and services we offer," said Bruno Lambert, CEO of ICONIQ Motors.

In November, the Bulgari Hotel in Beijing played host to the premiere of the Roman Maison’s “Festa High Jewellery Collection”. Nearly 200 one-of-a-kind jewels and high end watches were specially created for this new collection that is an homage to both the legend of regal feasts and the essence of the Italian way of life. Attendees at the event included renowned actress Kara Wai, Bulgari Brand Ambassadors Lily Aldridge, Shu Qi and Kris Wu, as well as Jean-Christophe Babin - CEO of Bulgari Group, who said: "The Festa High Jewellery epitomizes the sense of pure cheerfulness found in the Italian Festas. The brilliant jewels in the new collection

are very much a part of the Italian art de vivre. This is the Bulgari attitude reflected through palatial joy and brazen authenticity."

Guests were treated to a spectacular show where beautiful models, adorned with the Festa High Jewellery collection, paraded gracefully to joyful and romantic music. Designed to give joy and happiness to the women who wear them, the Festa collection features carefully selected rare and valuable gems, with bold and opulent colour tones, intended as an ode to women who choose their own way and make their own destiny. 3 star Michelin Chef - Niko Romito had been flown in specially to amaze guests with an array of exquisite dishes, and so through a sophisticated set of visual, auditory, and gastronomic sensations, Bulgari’s Festa collection premiere reflected the essence of the Italian way of life that balances glamour with indulgence, and enjoyment with exuberance.

RAW Coffee Company, Dubai’s oldest and much-loved specialty coffee roastery, is delighted to announce the launch of its new bottled nitro-infused cold brew coffee; Rocket Fuel.

Made from premium Ethiopian coffees, with floral aromas and a chocolate-like finish, Rocket Fuel is the best coffee party you’ve ever tasted.

Whether you’re heading to the gym, engaging in extreme sports or simply need something to carry you through the day at the office, Rocket Fuel is for you. It’s available in two different strengths and sizes, one for the hard-core caffeine addicts and another slightly lighter version for those looking for a gentler pick me up.

Drew Dennehy, Operations Manager at RAW, says; “We’ve been working for over six months to get this product right. Getting a product to taste this good and stay tasting good over time is a hard thing to manage. It involved us creating a completely new process that allows us to extend the shelf life and make it more viable as a product to retailers. Not many companies are currently doing this in the world, let alone the Middle East. But, what’s different about Rocket Fuel is the flavour profile we’ve managed to achieve. Usually, bottled cold brew products tend to have some undesirable sensory qualities, whether that be taste, flavour or its tactile element. We’re really excited to get this product out on the market and show people this doesn’t have to be the case.“

Katya Zenkovich, Head of Private Clients at Knight Frank discusses the benefits of a bespoke client service and what Russian clients look for when purchasing property.

The global property market may have had its challenges in recent times, but Katya Zenkovich, head of private clients at Knight Frank in London, has continued to be busy with Russian buyers looking to purchase property.

“We provide a range of services and solutions to our clients, whatever our clients’ needs,” explains Katya. “Whether they are looking to purchase a property for £500,000 or £5 million, the level of service is the same. It is not just property we help our clients with, either. We offer a bespoke service, similar to that of a concierge business, that assists clients with elements such as relocation, interior design and even finding schools.”

“Our clients are extremely busy; the majority travel frequently, own numerous homes and simply don’t have as much time as they would like to dedicate to purchasing a property. We act as consultants, taking the time to understand our client’s brief; the types of investments they may like, how they might use a property, and what their lifestyle is. Once we know this, we create a bespoke search that takes into account clients’ personal preferences to find their ideal property.”

And, it is not just when in the process of purchasing a property that Russian clients expect a concierge service – many expect it to continue after the purchase has taken place.

“There have been many instances where my buyers have contacted me to ask if I can help them find a nanny,” says Katya. “I’m not just a property specialist – often I act as a bit of a 24-hour concierge as well.”

Such expectations explain the growing popularity of residences in luxury hotels around the world. Providing room service, 24-hour concierges and daily housekeeping,

it is easy to see why luxury hotel stays are now a popular lifestyle choice for high net-worth individuals.

Here are some of the best hotel-branded residences currently available through Knight Frank.

Apartments at The Corinthia – London. Described as an 'incomparable London living experience for those who want the ultimate in sophistication minutes from the centre of London’, these eleven residences currently on the market at Embankment's Corinthia hotel offer unrivaled exclusivity in the heart of the capital. World-class architects, designers and craftsmen have joined forces to create palatial apartments and a penthouse. Along with the prestigious, signature address comes voluminous space as well as residents' benefits including access to the branded spa, Michelin-starred restaurants and 24-hour concierge services.

Grace, St Moritz – Switzerland. For those who enjoy jetting away for a weekend break or even long-term stayers, the residences at Grace St Moritz offer the ultimate lifestyle apartment to own in one of the world's first and most exclusive ski resorts. An annex forms an exclusive wing of one of St Moritz’s iconic hotels dating back to 1906 and presents 17 serviced apartments offering a rare opportunity for non-Swiss nationals to own real estate in the country.

The Royal Atlantis Residences – Dubai. Located on the crescent of The Palm and next to the iconic Atlantis resort, this new generation of distinctive luxury will offer a sophisticated lifestyle experience encapsulated in dramatic architecture. The Royal Atlantis Residences is destined to become a new landmark, world-renowned address and will be Dubai’s first super-prime residential development. The Residences will consist of a selection of two, three, four and five-bedroom homes, Sky Courts, Penthouses and Garden Suites. When completed, it will offer 231 Residences and 795 new lavish guest rooms and suites in the Resort on over 10 hectares of land.

At the heart of the Dubai International Financial Centre you’ll find Caramel Restaurant & Lounge. A sophisticated contemporary-American restaurant perfect for a deal sealing business lunch or team building meeting over appetizers and refreshment.

By night, Caramel Restaurant & Lounge transforms into an exciting and energetic indoor and outdoor ultra-lounge serving flavorful and decadent plates with a full-service bar. Ideal for unwinding with co-workers or a fun filled night with close friends. A relaxing ambience offering drinking, dining, and entertainment at a centrally located DIFC hot spot.

With as much outdoor seating as indoor, Caramel boasts one of the DIFC’s most memorable skyline views from their recently remodeled terrace.

The versatility of the venue’s 10,000 sq foot floorplan has seen Caramel's reputation grow for both private and corporate events. An in-house events team has coordinated everything from wedding receptions to international ambassador hosted IWC watch launches as well as Louis Vuitton’s annual end of year event. Caramel has also capitalized on the captive market from its surroundings to provide memorable events for the banks, brokerages and venture capitalists that house their Middle East offices in the prestigious DIFC district itself.

Leading the innovative culinary team at Caramel is Corporate Chef Sunil Vaz. His training, skills and creativity led to him joining the group for the conception of Caramel Dubai in 2009. With a collective experience of more than ten years in the United States, the United Kingdom and now the United Arab Emirates; Chef Vaz has drawn upon his experiences working with culinary giants such as Gordon Ramsay at Maze and Jason Atherton at Verre to create distinct flavor combinations for the American contemporary dishes fashioned for his menus.

Caramel’s versatile menu has an American contemporary influence featuring comfort food favorites such as Kobe Beef Sliders, Mac N Cheese and Chicken Lollipops, but also offers a large sushi selection, pasta items, seafood, steaks and salads. Just make sure you save room for dessert.

In early 2018 a Caramel Restaurant & Lounge will open its doors in the prestigious Knightsbridge district of London, SW3.

Centrally located within walking distance of Chelsea’s Kings Road, as well as Harrods, Caramel London will become a draw for both those that live in the vicinity and tourists from around the world residing in the surrounding areas.

AUTO VIVENDI. A WAY OF LIFE.

Auto Vivendi is a private members’ supercar club which provides members with convenient access to a collection of the world’s best supercars as well as organising a host of global lifestyle events. Membership to Auto Vivendi is by application and the Club delivers cars to members throughout the UK and Europe from its London clubhouse.

If you like to live life to the full, you will love Auto Vivendi.

Surprisingly different...

TAKE ADVENTURE TO NEW XTREMES AT ALILA JABAL AKHDAR

With a passion for adventure, the Alila team have curated a range of experiences that showcase the region, its culture and the resplendent scenery, including the exhilarating Via Ferrata climb, the highest of its kind in the Middle East. The protected climbing route presents guests with a challenge. A thrilling new addition that will make for inspiring memories to last a lifetime.

The stunning property, which lies 2,000 meters above sea level in the Al Hajar mountain range in Oman, will take guests experience to the ‘XTREME’ with a fresh Via Ferrata experience. Accompanied by expert local guides, guests will be tested with a high-energy climb, the ‘XTREME CAVE AFFAIR’ that takes guests to new heights showcasing spectacular views of the ancient valley below. Adventurers will be truly immersed in the dramatic surroundings, gaining a new perspective, whilst earning a sense of achievement, which will stay with guests long after the exhilarating stay at Alila Jabal Akhdar.

BOOK NOW at jabalakhdar@alilahotels.com

www.alilahotels.com/jabalakhdar

ALILA JABAL AKHDAR . OMAN

DISCOVER BISHANGARH

From INR 20,800++ per night

For a breath of fresh air, just 3 hours away from Gurgaon, this 230-year old warrior fortress encapsulates a uniquely crafted destination experience, for noble indulgence with spectacular cuisine created by Chef Ranveer Brar, bespoke services, and all that pampering . . .

INCLUSION FOR A MIN 2-NIGHT STAY

Daily breakfast at Amarsar • INR 4,500 resort credit per night • One Alila Experience of your choice during your entire stay • Historical tour of the Fort • Access to Play Alila, the kiddies club • Complimentary stay for two children below 11 years, sharing existing bedding • Terms & Conditions apply.

BOOK NOW at bishangarh@alilahotel.com

www.alilahotels.com/fortbishangarh

www.alilahotels.com

ALILA FORT BISHANGARH . JAIPUR

LOOKS AT THE supercar McLaren 720S

Craig

Generally within the automotive market, cars fit alongside their competitors in clearly defined segments, you know which car competes with which, but every once in a while, something comes along which breaks the mould, it quite simply 'disrupts' the market, enter Woking's new McLaren 720S.

It's the first car in a long time that I looked at and thought “this is different”, it's going in its own direction with sensational lines and detailing, sophisticated F1 derived active aerodynamics and a light and airy cockpit. It looks ahead of its time.

Our car arrived the day before one of our 200MPH challenges, where people come and are coached on a runway to try to break 200MPH in our cars. I was doing warmup runs in some of the world’s best supercars, the incredible Lamborghini Huracan and Ferrari 488 being two of them, which until now had been real favourites of mine. I simply didn’t know what was to come though…

It was time and I slipped into the 720S. The doors open up and away from you, taking much of the roof with them, so getting

into the car is an occasion in itself. The car wraps around you like a glove, everything is at your fingertips and as you stab the red start button, the four litre turbocharged V8 engine barks angrily into life. I took some time just to soak it all in, before heading out onto the runway for a gentle run, getting a grip on how it handled and braked. I’d hit the active aero button, and while driving I could see the rear spoiler adjusting itself to provide maximum downforce in the turns, but lowering to make itself more slippery and the car faster on the straight,

DRS straight from F1 - brilliant! The car is almost go-kart like with a sharp turn in and a firm ride. The seats hug you firmly and the vista through the vast windscreen is increased, as I turned the car to the optional ‘track’ setting and the instrument pod rotated neatly back into the dashboard, with just the speed and revs showing. I could tell the car meant business, it wasn’t here to compete, it was here to dominate. I turned onto the main runway and I was ready to take the 720S for a full bore blast in anger.

I audibly gasped as I hit the loud pedal, it was like unleashing some sort of furious dragon. I'd just got out of a Ferrari 488 and this was quite simply in a different league. The car blasted me faster and faster to an effortless 200MPH on the runway, but it was the way it did it which was shocking, just an intense savagery that never relented. It would have done more! As I buried the brake pedal to scrub off some speed, the massive airbrake was deployed at the back end forcing the car to lose speed at a much faster rate, simply incredible tech. I pulled

back in to the pit, and as I came to a halt, I gasped for air as I realised I’d been holding my breath the entire run. This car does that to you, it actually stops you breathing!

At lunchtime I needed to fuel the car, so it was a 10 mile cross country trip and it didn't disappoint. The car shrinks around you, it’s massively forgiving on undulating country roads, easy to drive in town and so comfortable as a cruiser on the bigger roads. I even had a coffee on the way back! It's got all the toys

you ever need, the statistics are all available online but let's just say this car punches way above its weight, its hypercar quick - yet doesn't come with the £1m+ price tag and as ridiculous as it may sound, you can easily use it day to day. I’ve been commuting in it for a few days as we do with all new cars before our members use them, it’s a good chance to really get to know them and for the first time ever, one evening I went for a drive, just because it was there. The 720S is a car that always feels special and always makes you feel special, which is perhaps more important. Every single time you park up - you have to take a glance back at it, and every drive is an occasion.

McLaren have only been building production road cars for around seven years and to have produced a car like this in that time is staggering. I can't wait to see what they come up with next. McLaren use the hashtag 'proudtobemclaren' and they really should be. Cap duly doffed…

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The Art of

The Greatest Sculptors of All Time SEEING

MICHELANGELO

Michelangelo is widely regarded as the most influential artist of the Italian Renaissance. Among his works are the “David” and “Pieta” statues and the Sistine Chapel frescoes.

Born on March 6, 1475, in Caprese, Italy, to a family of moderate means in the banking business, Michelangelo became an apprentice to a painter before studying in the sculpture gardens of the powerful Medici family. What followed was a remarkable career as an artist in the Italian Renaissance, and recognition in his own time for his artistic virtuosity. His works include the “David” and “Pieta” statues and the ceiling paintings of Rome’s Sistine Chapel, including the “Last Judgment.” Although he always considered himself a Florentine, Michelangelo lived most of his life in Rome, where he died in 1564, at age 88. Painter, sculptor, architect and poet, Michelangelo di Lodovico Buonarroti Simoni was one of the most famous artists of the Italian Renaissance. Michelangelo’s father, Leonardo di Buonarrota Simoni, was briefly serving as a magistrate when he recorded the birth of his second of five sons with his wife, Francesca Neri. They returned to Florence when Michelangelo was still an infant, but due to his mother’s illness, Michelangelo was placed with a family of stonecutters, where he later jested, “With my wetnurse’s milk, I sucked in the hammer and chisels I use for my statues.” Indeed, according to his earliest biographers (Vasari, Condivi and Varchi), Michelangelo was less interested in schooling than watching the painters at nearby churches, and drawing what he saw there. It may have

been his grammar school friend, Francesco Granacci, six years his senior, who introduced Michelangelo to painter Domenico Ghirlandaio. Michelangelo’s father realised early on that his son had no interest in the family financial business, so agreed to apprentice him, at the age of 13, to the fashionable Florentine painter’s workshop. There, Michelangelo was exposed to the technique of fresco. Political strife in the aftermath of Lorenzo the Magnificent’s Death, led Michelangelo to flee to Bologna, where he continued his studies. He returned to Florence in 1495 to begin work as a sculptor, modelling his style after masterpieces of classical antiquity.

There are several versions of an intriguing story about Michelangelo’s “Cupid” sculpture, which was artificially “aged” to resemble a rare antique. One version claims that Michelangelo aged the statue to achieve a certain patina, and another version claims that his art dealer buried the sculpture (an “aging” method) before attempting to pass it off as an antique. Several commissions followed, including an ambitious project for the tomb of Pope Julius II, but that was interrupted when he asked Michelangelo to switch from sculpting to painting to decorate the ceiling of the Sistine Chapel.

The project fuelled Michelangelo’s imagination, and the original plan for 12 apostles morphed into more than 300 figures on the ceiling of the sacred space. (The work later had to be completely removed due to an infectious fungus in the plaster, and then recreated.) Michelangelo fired all of

his assistants, whom he deemed inept, and completed the 65 foot ceiling alone, spending endless hours on his back and guarding the project jealously until revealing the finished work, on October 31, 1512. The resulting masterpiece is a transcendent example of High Renaissance art incorporating the Christian symbology, prophecy and humanist principles that Michelangelo had absorbed during his youth. The vivid vignettes of Michelangelo’s Sistine ceiling produce a kaleidoscope effect, with the most iconic image being the “Creation of Adam,” a portrayal of God touching the finger of man. Rival Roman painter Raphael evidently altered his style after seeing the work. Although he continued to sculpt and paint throughout his life, the physical rigor of painting the chapel had taken its toll on Michelangelo, and he soon turned his focus toward architecture.

Unlike many artists, Michelangelo achieved fame and wealth during his lifetime. He also had the peculiar distinction of living to see the publication of two biographies about his life (written by Giorgio Vasari and Ascanio Condivi). Appreciation of Michelangelo’s artistic mastery has endured for centuries, and his name has become synonymous with the best of the Italian Renaissance.

DONATELLO

Italian sculptor Donatello was the most influential individual artist of the 15th century in Italy, and the greatest Florentine sculptor prior to Michelangelo. Born in Florence, Italy, around 1386, sculptor Donatello apprenticed early with well-known sculptors and quickly learned the Gothic style. Before he was 20, he was receiving commissions for his work. Over his career, he developed a style of lifelike, highly emotional sculptures and a reputation second only to Michelangelo’s.

Donatello, the early Italian Renaissance sculptor, was born Donato di Niccolo di Betto Bardi in Florence, Italy, sometime in 1386. His friends and family gave him the nickname “Donatello.” He was the son of Niccolo di Betto Bardi, a member of the Florentine Wool Combers Guild. This gave young Donatello status as the son of a craftsman and placed him on a path of working in the trades. Donatello was educated at the home of the Martellis, a wealthy and influential Florentine family of bankers and art patrons closely tied to the Medici family. It was probably here that Donatello first received artistic training from a local goldsmith. He learned metallurgy and the fabrication of metals and other substances. In 1403, he apprenticed with Florence metalsmith and sculptor Lorenzo Ghiberti. A few years later, Ghiberti was commissioned to create the bronze doors for the Baptistery of the Florence Cathedral, beating out rival artist Filippo Brunelleschi. Donatello assisted Ghiberti in creating the cathedral doors.

By 1408, Donatello was back in Florence at the workshops of the cathedral. That year, he completed the life-sized marble sculpture, David. The figure follows a Gothic style, popular at the time, with long graceful lines and an expressionless face. The work reflects the influences of sculptors of the time.

Technically, it’s very well executed, but it lacks the emotional style and innovative technique that would mark Donatello’s later work. Originally, the sculpture was intended for placement in the cathedral. Instead, however, it was set up in the Palazzo Vecchio (the town hall) as an inspiring symbol of defiance of authority to Florentines, who were engaged in a struggle with the king of Naples at the time.

By this time, Donatello was gaining a reputation for creating imposing, larger-than-life figures using innovative techniques and extraordinary skills. His style incorporated the new science of perspective, which allowed the sculptor to create figures that occupied measurable space. Before this time, European sculptors used a flat background upon which figures were placed. Donatello also drew heavily from reality for inspiration in his sculptures, accurately showing suffering, joy and sorrow in his figures’ faces and body positions.

Around 1425, Donatello entered a partnership with Italian sculptor and architect Michelozzo, who also studied with Lorenzo Ghiberti. Donatello and Michelozzo traveled to Rome, where they produced several architectural- sculptural tombs, including the tomb of Antipope John XXIII and the tomb of Cardinal Brancacci. These innovations in burial chambers would influence many later Florentine tombs.

Donatello had nurtured a close and lucrative relationship with Cosimo de’ Medici in Florence. In 1430, the eminent art patron commissioned Donatello to do another statue of David, this time in bronze. This is probably Donatello’s most famous

work. The sculpture is fully independent from any architectural surroundings that might support it. Standing a little over five feet tall, David represents an allegory of civic virtue triumphing over brutality and irrationality.

In 1443, Donatello was called to the city of Padua by the family of the famous mercenary Erasmo da Narni, who had died earlier that year. In 1450, Donatello completed a bronze statue called Gattamelata, showing Erasmo riding a horse in full battle dress, minus a helmet. This was the first equestrian statue cast in bronze since the Romans. The sculpture created some controversy, as most equestrian statues were reserved for rulers or kings, not mere warriors. This work became the prototype for other equestrian monuments created in Italy and Europe in the following centuries.

By 1455, Donatello had returned to Florence and completed Magdalene Penitent, a statue of a gaunt-looking Mary Magdalene. Commissioned by the convent at Santa Maria di Cestello, the work was probably intended to provide comfort and inspiration to the repentant prostitutes at the convent. Donatello continued his work taking on commissions from wealthy patrons of the arts.

His lifelong friendship with the Medici family earned him a retirement allowance to live on the rest of his life. He died of unknown causes on December 13, 1466, in Florence and was buried in the Basilica of San Lorenzo, next to Cosimo de’ Medici. An unfinished work was faithfully completed by his student Bertoldo di Giovanni.

GIOVANNI BERNINI

Italian architect and sculptor Giovanni Bernini created many famous landmarks in Rome during the 17th century and is considered the father of Baroque sculpture.

Born in Naples in 1598, Italian architect and sculptor Giovanni Bernini is widely considered the creator of the Baroque style of sculpture. He served eight different popes in his lifetime and contributed to several landmarks in Rome, including St. Peter’s Basilica and the Fountain of the Four Rivers.

Under the patronage of the extravagantly wealthy and most powerful Cardinal Scipione Borghese, the young Bernini rapidly rose to prominence as a sculptor. Among the early works for the cardinal were decorative pieces for the garden of the Villa Borghese such as The Goat Amalthea with the Infant Jupiter and a Faun, and several allegorical busts, including the Damned Soul and Blessed Soul. By the time he was twenty-two, he was considered talented enough to have been given a commission for a papal portrait, the Bust of Pope Paul V, now in the J. Paul Getty Museum.

Unlike those done by his predecessors, these sculptures focus on specific points of narrative tension in the stories they are

trying to tell: Aeneas and his family fleeing the burning Troy; the instant that Pluto finally grasps the hunted Persephone; the precise moment that Apollo sees his beloved Daphne begin her transformation into a tree.

They are transitory but dramatic powerful moments in each story. Bernini’s David is another stirring example of this. Unlike Michelangelo’s motionless, idealised David—which shows the subject holding a rock in one hand and a sling in the other, contemplating the battle, or similarly immobile versions by other Renaissance artists, including Donatello’s—which show the subject in his triumph after the battle with Goliath, Bernini illustrates David during his active combat with the giant, as he twists his body to catapult toward Goliath.

To emphasize these moments, and to ensure that they were appreciated by the viewer, Bernini designed the sculptures with a specific viewpoint in mind.

Their original placements within the Villa Borghese were against walls, so that the viewers’ first view was the dramatic moment of the narrative. The result of such an approach is to invest the sculptures with greater psychological energy. The viewer finds it easier to gauge the state of mind of the

characters and therefore understands the larger story at work: Daphne’s wide open mouth in fear and astonishment, David biting his lip in determined concentration, desperately struggling to free herself.

In addition to portraying psychological realism, they show a greater concern for representing physical details. The tousled hair of Pluto, the pliant flesh of Proserpina, or the forest of leaves beginning to envelop Daphne all demonstrate Bernini’s exactitude and delight for representing complex real world textures in marble form.

Bernini remained physically and mentally vigorous and active in his profession until just two weeks before his death that came because of a stroke. In his last two years, he carved (supposedly for Queen Christina) the bust of the Saviour and supervised the restoration of the Palazzo della Cancelleria as per papal commission. He died in Rome on November 28, 1680 and was buried, with little public fanfare, in the simple, unadorned Bernini family vault, along with his parents, in the Basilica di Santa Maria Maggiore.

Though an elaborate funerary monument had once been planned (documented by a single extant sketch of circa 1670), it was never built and Bernini remained with no permanent public acknowledgement of his life and career in Rome until 1898 when a simple plaque and small bust was affixed to the face of his home on the Via della Mercede, proclaiming “Here lived and died Gian Lorenzo Bernini ”, a sovereign of art, before whom reverently bowed popes, princes, and a multitude of peoples.

AUGUSTE RODIN

French sculptor Auguste Rodin is known for creating several iconic works, including “The Age of Bronze,” “The Thinker,” “The Kiss” and “The Burghers of Calais.”

Auguste Rodin, born on November 12, 1840, was a sculptor whose work had a huge influence on modern art. Unlike many famous artists, Rodin didn’t become widely established until he was in his 40s. Developing his creative talents during his teens, Rodin later worked in the decorative arts for nearly two decades. He eventually sculpted the controversial piece “The Vanquished” (renamed “The Age of Bronze”), exhibited in 1877. Among Rodin’s most lauded works is “The Gates of Hell,” a monument of various sculpted figures that includes “The Thinker” (1880) and “The Kiss” (1882). Rodin didn’t live to finish the intricate piece; he died on November 17, 1917, in Meudon, France.

World-renowned sculptor Auguste Rodin was born FrançoisAuguste-René Rodin, in Paris, France, to mother Marie Cheffer and father Jean-Baptiste Rodin, a police inspector. Rodin had one sibling, a sister two years his senior, Maria.

Due to poor vision, Rodin was greatly distressed at a young age. Attending the Petite École, he was unable to see figures drawn on the blackboard and, subsequently, struggled to follow complicated lessons in his math and science courses.

Unaware of his imperfect eyesight, a dejected Rodin found comfort in drawing—an activity that allowed the youngster to clearly see his progress as he practiced on drawing paper.

(He was near-sighted.) Soon, Rodin was drawing frequently, wherever he could, and whatever he saw or imagined.

Rodin held a career in the decorative arts for some time, working on public monuments as his home city was in the throes of urban renewal. The sculptor also joined a Catholic

order for a short time, grieving over the death of his sister in 1862, but he ultimately decided to pursue his art. By the mid1860s he’d completed what he would later describe as his first major work, “Mask of the Man With the Broken Nose” (186364). The piece was rejected twice by the Paris Salon due to the realism of the portrait, which departed from classic notions of beauty and featured the face of a local handyman.

Rodin later worked under fellow sculptor Albert-Ernest CarrierBelleuse and took on a major project assigned to him in Brussels, Belgium. A fateful trip to Italy in 1875 with an eye on Michelangelo’s work further stirred Rodin’s inner artist, enlightening him to new kinds of possibilities; he returned to Paris inspired to design and create

By the following decade, as Rodin entered his 40s, he could further establish his distinct artistic style with an acclaimed, sometimes controversial list of works, eschewing academic formality for a vital suppleness of form. With a large team assisting him in the final casting of sculptures, Rodin thus went on to create an array of famous works, including “The Burghers of Calais,” a public monument made of bronze portraying a moment during the Hundred Years’ War between France and England, in 1347. The piece, which includes six human statues, depicts a war account during which six French citizens from Calais were ordered by monarch Edward III of England to abandon their home and surrender themselves—barefoot and bareheaded, wearing ropes around their necks and holding

the keys to the town and the caste in their hands—to the king, who was to order their execution thereafter. “The Burghers of Calais” is a portrayal of the moment that the citizens exited the town; the group was later spared death due to the request of Queen Philippa. Rodin began working on the monument in 1884, after being commissioned by Calais to create it. However, the piece wasn’t unveiled there until more than a decade later, in 1895.

Rodin died on November 17, 1917, in Meudon, France, passing away months after the death of his partner Rose Beuret. Garnering acclaim for more than a century, Rodin is widely regarded as the pioneer of modern sculpture. With samples of his work found around the world, his legacy continues to be studied and deeply admired by fellow artists, experts, scholars and art connoisseurs, as well as those with an untrained eye.

The Rodin Museum was opened in August 1919 in a Paris mansion that housed the artist’s studio during his final years. After several years of reconstruction, the museum was reopened in 2015 on November 12th, Rodin’s birthday. With much of its revenue supplied by the sale of bronze casts made from original molds, the space also features unearthed pieces from Camille Claudel, who was Rodin’s lover/muse and worked as his assistant for some time.

Their relationship is said to have inspired many of the artist’s more overtly amorous works, including 1882’s “The Kiss.”

BECAUSE HE’S WORTH IT

VAULT – NOT ABOUT TIMEKEEPING, BUT TIME ITSELF

In November 2016, UNIQUE attended SalonQP in London. It was here that we met with Mark Schwarz - the Founder of VAULT, at the launch of its inaugural timepiece - the V1.

Following a life and death situation, experienced a few years ago, Mark was inspired to create a truly original mechanical watch. Its entirely unique design was created to reflect a deep concern with the nature of time itself.

After founding VAULT and collaborating with renowned movement specialist Andreas Strehler, the dedicated team spent the next four years creating the first models of this exceptionally innovative design.

The VAULT V1 is nothing less than mechanical art, created for the watch enthusiast who has little interest in brand prestige or status, but who cares passionately about genuine innovation, incredible craftsmanship, emotional experiences and time itself.

Imagine a watch that has a unique way of working and that looks different after each occasion the time is set. This represents a

daring break from traditional watchmaking. Both the design and construction pay homage to the classic bank vault and, in so doing, deliver a breath-takingly original timepiece.

TIME IS PRECIOUS

The dial of a VAULT V1 is designed and constructed to evoke the idea of a bank vault door, protecting the movement which (in a metaphorical sense) symbolises time. It reflects our appreciation of how precious time is.

Furthermore, the concept of the bank vault locking mechanism is also applied to the V1. To open the bank vault lock, the notches of several wheels need to be brought into the correct position via a combination dial.

TIME IS DYNAMIC

The V1 features a completely liberated mechanism, characterised by a total absence of direct human involvement with the movement. This extremely exotic concept recognises the fact that time is in continuous motion, present for only a moment before it becomes part of memory. Time is, in effect, beyond human control.

The V1’s exclusive and completely autonomous movement serves to remind us that time cannot be controlled.

TIME IS UNIQUE

All human beings perceive time in their own individual way. Indeed, the same human will also perceive time differently according to their circumstances. Time is, therefore, unique to each and every one of us and the appearance of VAULT watches, has been designed to reflect this final part of our philosophy.

By virtue of the way in which the time is set and the mechanism moves, each VAULT timepiece will show the same time in a unique way – a constant reminder that each of us, as well as time itself, is unique.

With only 50 pieces of this spectacular debutant being produced, our verdict is: Time waits for no-one – Get one while you can!

Winter brings with it an endless array of possibilities; skiing at the lodge, skating at the rink and hot chocolate with the missus. But, the fun ends there; because it is also notorious for its effect on the skin; particularly causing dryness, fine lines and in certain instances excess oiliness. So, how are we planning to combat these dreaded symptoms and stay dastardly fresh?

Tom Ford, of course. The suave mans' man has just launched the latest skincare and grooming collection by his namesake label, inspired by his regular grooming regimen. Fancy looking like Mr. Ford? Then read up on the three products you absolutely need for the months ahead.

THE SHAVE OIL

Conditioning and moisturising the skin with natural oils this rich formula softens the outer layer of your skin and preps it for a top-notch shave. The oils in the formula also help to keep skin hydrated post-shave and combat dry patches caused by winter breeze. Our advice? Pair with Tom Ford’s oil-free daily moisturiser for added protection.

THE BROW GELCOMB

Unless you’re Donald Trump and have as little hair on your brows as you do on your head this handy comb is the #manssential you need. Creating a distinctly refined look, the easy-to-use comb smoothly applies the gel as you move it across your brow. The tint-free solution also helps to tame the appearance of fuzzy brows while moisturizing the skin. No, this isn’t makeup – it’s the future of grooming.

THE EXFOLIATOR

At this point, exfoliating your skin should be as pivotal to your daily grooming routine as your pre-workout warm up. This smooth formula concocted by Tom Ford sloughs off dead skin and air-borne pollutants your skin is exposed to during the day. It also creates a smoother base pre-shave and leaves your skin with a healthy glow. Exfoliating, is best done pre-shave and should be followed with a moisturising formula.

Following the success of the Royal Oak Frosted Gold launched in November 2016, Audemars Piguet now unveils the new Royal Oak Frosted Gold Limited Edition 41mm of 200 pieces, boasting the following features: 18-carat white gold case and bracelet, glareproofed sapphire crystal caseback, blue toned “Grande Tapisserie” dial and Royal Oak hands with luminescent coating.

Meticulously crafted, effortlessly worn, the Florentine finish adorning the Royal Oak Frosted Gold is a textured surface decoration on precious metal invented decades ago, predominantly on smaller jewellery pieces. By beating the gold with a diamond tipped tool, it created tiny indentations on the surface that gave a sparkle effect similar to that of precious stones, like diamond dust.

The challenge for Audemars Piguet’s craftsmen was to apply this surface treatment technique across the case and bracelet of the watch without altering the clean lines that define the Royal Oak’s form. Then the original gradating bracelet construction also demanded that the order in which the rest of the finishing (polishing and satin finish) is executed be reconsidered. It is a very delicate alchemy to operate: nothing is added, nothing is removed, but the watch is transformed.

To accompany the new Royal Oak Frosted Gold 41mm, Audemars Piguet refreshes its accessories collection with six new pairs of Royal Oak cufflinks: three in stainless steel with either a blue, black or silver “Tapisserie” pattern in the center. Two in pink gold with blue or black “Tapisserie” in the center. And last but not least, one in yellow gold with a blue “Tapisserie” pattern in the center.

FLIGHT to

Dr. Robert Q. Fugate

Bob spent over 35 years as a civilian scientist in US Air Force R&D, until his retirement from federal service in 2006. His main contributions are in atmospheric compensation using adaptive optics — laser guide stars in particular.

After retirement, he was Senior Research Advisor for the Vice President of Research at New Mexico Tech and worked to promote technology transfer and as a consultant to the government. In 2012 he was given Emeritus status at NM Tech and now works part time as a private consultant for the government.

Dr. Fugate has published over 100 papers and book chapters, is a member of the National Academy of Engineering, a Fellow of the Optical Society of America, has an asteroid named after him, and has received numerous awards and honors, including a Distinguished Presidential Rank Award.

Bob is an avid photographer and specializes in the natural world, landscapes, wildlife, and the night sky. He was selected as one of only a few photographers donating their work to Healing Images -- a program to put art in hospitals, his astrophotography has been exhibited by invitation at the city of West Palm Beach's Lake Pavilion, he has received awards from New Mexico Magazine, the New Mexico Natural History Museum, and is the recipient of the Photographic Society of America's Progress Medal, putting him in the company of Ansel Adams, Jacques-Yves Cousteau, Art Wolfe, George Lepp, and others.

The team at Unique have been following Bobs work and finally managed to catch up with him to find out more about the man and his extraordinary career

How did you get into photography?

I have had an interest in photography since I was in high school –for over 50 years. I started with black and white film and processed the negatives in my basement. I used my school’s darkroom equipment to make prints. I was just fascinated with the whole concept that I could freeze an instant in time and see things that I’d missed or parts of nature that were beyond human vision – like faint stars in the night sky. I pretty much had to shelve photography when I was in college and graduate school, and during most of my professional career as an experimental research physicist – I just

couldn’t make time for it except during special occasions in raising our family (a son and daughter). But when our first grandchild was born in 2002, I got back into it. Point and shoot digital cameras were just becoming affordable and my work was tapering off a bit, so it was the right time for me to become immersed in photography. Beyond the family, my interests in photographing the natural world quickly lead me into my first Digital Single Lens Reflex (DSLR) camera – a Canon 10D. My previous SLR had been the Pentax Spotmatic film camera from the late 1960’s – I still have that camera and a couple of lenses. Today, I am shooting high end Nikon and Fujifilm cameras and lenses.

Do you have a specialised area?

I like shooting the natural world – landscapes, the night sky over the landscape, and wildlife in the landscape, especially large migratory birds. I tend to like technically challenging topics, like the Venus transit, solar and lunar eclipses, laser beams in the night sky (part of my professional career in laser guide star adaptive optics). I also greatly enjoy capturing the activities of my three grandkids and documenting their growing up.

Do you think people appreciate professional photographers these days, or has the advent of digital cameras and then smartphones made everyone believe they are a photographer?

First, let me say, I am not a professional photographer in the sense that I derive the majority of my living from photography. While I do have a company set up to sell my services and do get a small income from print sales from my website and payment for special jobs and even an occasional wedding, I mostly shoot for myself – which I think is a great position to be in for someone interested in photography.

Now that everyone has a camera in their smartphone, I do think there is less appreciation for what makes a good photograph and for professional photographers in general. The advent of social media has amplified the acceptance of poor quality imagery and lowered the standards for what is acceptable as a professional. I’m not sure having a camera makes people think they are a photographer so much as they now have a capability to record an image that is good enough for them and they don’t even know (or care about) the value of a good photograph in terms of composition, image quality, and art form. Ansel Adams once said, “The sheer ease with which we can produce a superficial image often leads to creative disaster.” That is even more true today. I do often find myself helping people that seem to want advice on how to use their smartphone cameras to make better photos – and it is often just explaining the basics of light and exposure. So that is an area where professional photographers can still make a difference – educating folks on how to use their smartphone cameras.

Is Flight To Venus your favourite photo? If not, which one and why?

I guess no one has asked me that before so haven’t really thought about it. But maybe, yes, since there is a story behind the photo that is pretty interesting and goes beyond just clicking the shutter release. First there is the set of unplanned circumstances that put me in the right place at the right time to get the shot, the whole story of how the FAA helped me track down Captain David Kantor and First Officer Dean Burke, Captain Kantor’s ‘fame and glory’ at UPS and even in the FAA as “Captain Planet”, the ensuing friendship and bond I had with Captain Kantor. But mostly it was Captain Kantor’s incredibly sad and tragic untimely death (natural causes) in February of 2017 and how the photo was used in his memorial service and how his father reached out to me thanking me for the effort I had made and telling me stories about David that I would not otherwise ever heard. So it is a pretty powerful story and every time I look at the picture I think of David. At some point I will add an epilogue to the rest of the story page on my website. I just haven’t been up to it so far.

There was clearly a huge element of luck involved in capturing Flight To Venus –would you say that is true of most great photos? How much can you plan and how much is luck?

Well, I always say luck favors those who are prepared to receive it. There is an old saying in photography – “just showing up is 90% of the picture.” Clearly you won’t get the shot if you are not there. In the case of Flight to Venus, I think luck was the main element. I had planned for weeks to shoot the Venus transit but I had not planned to go to Continental Divide, New Mexico, and once there I had not planned to move to the top of the hill late in the day where I could see the plane coming. I saw airplanes all over the sky all afternoon, but none even came close to the Sun. So, luck had the most significant role in the making of Flight to Venus. I also think many of the greatest photos have an element of luck. But you also have to be prepared and anticipate what might happen – have a keen awareness of the situation.

There is another important, probably most important, element in the making of great photographs – the photographer’s ability to see. By that I mean the ability to look at a scene and see something interesting or even profound that the casual observer misses – it is the photographer’s eye. Seeing is what makes great photographs. It is a talent that I think most great photographers are born with. I think it is very hard to learn and Malcolm Gladwell’s 10,000 hour rule of deliberate practice to become world class, may not apply here. We often recognize immediately a great photograph the instant we see it, but being able to produce an equivalent photo is not so easy.

How much post-production goes into your shots, and how much is captured naturally?

I try to get as much right in the camera as I can, to minimize post production, but I do a lot of post production. I shoot raw in the camera, so the output of a raw converter is pretty flat and needs some basic adjustments of exposure, contrast, and color balance. Beyond that I try to make my photos reproduce what I saw at the time. But of late, I do like to experiment a bit

with creating an art form from my photos – an interpretation of what I felt when I made the photo. That often involves some manipulation of color and texture that conveys in a more dramatic way what I was experiencing when I shot the photo. Again quoting Ansel Adams, “You don’t take a photograph, you make it.”

There has been a revival in old camera formats and equipment, in the UK at least – is that down to nostalgia or genuine desire to go back to basics and eschew technology?

Film does have some technical features that modern solid state sensors lack. The non-linear response of film makes it much more forgiving about saturated highlights for instance. If you saturate the highlights in an exposure on a digital camera, there is nothing to be done to recover it. The response of the sensor is very linear right up to the point where the pixel wells fill up with electrons, then there is no further response. In film that high end is gradual and the response curve rolls over and becomes non-linear, very forgiving. And there is a certain ‘feel’ about film that is hard to reproduce in a digital camera. Film has a natural look, less cold and calculating, again partly because of the non-linear response of the grains. There is also the fact that an 8x10 piece of film has an enormous amount of resolution that is hard to match with digital. We do panoramic stitching to emulate large focal planes, but it is not quite the same.

I also think the nostalgia factor is a big reason for the revival of classic equipment and techniques we are seeing. Good photographers like the basics. They like to put the camera on a tripod, take their time working the composition, make manual adjustments to the camera settings, and waiting for or

planning for the best light. We also see classic camera designs coming back in modern cameras, giving the photographer more control over the exposure and operating parameters. It is great to be able to adjust the aperture of a lens by turning an aperture ring ON THE LENS rather than let a computer in the camera do it automatically.

What is your favourite camera, and why?

It changes. Currently, I’d have to say it is my Fujifim X-T2 mirrorless camera. It has no internal flip mirror like a DSLR so is less bulky and lighter than my Nikons. It also has a retro design with dials that lets me adjust and see what the ISO, shutter speed, lens aperture, and exposure compensation are set to without looking into a viewfinder or a display screen. Fuji makes world class optics and they offer a wide range of prime and zoom lenses for their cameras. The quality camera allows me to carry it with me almost everywhere. And now that the FAA allows use of small hand held electronics in the cabin throughout the flight, I am sitting at the window whenever I can (I have even started a folder of galleries on my website called Window Seat).

Do you always have a camera with you?

Yes, either the Fujifilm X-T2 or my iPhone. And I have a reputation among family and friends of always taking pictures, even in the most unlikely circumstances, like from a speeding car on the freeway, or while going up the escalator, or in a restaurant, or walking down the sidewalk. I have a very large collection of family pictures in unlisted galleries on my website (some 50,000 photos taken over the past 15 years) which may become the best legacy for my current family and families of future generations.

I see you use an iPhone, how would you rate it as a camera?

It is extraordinary. There are many features especially using third party apps that turn the phone into an amazing camera. It has a few shortcomings such as very low light performance, lack of a telephoto lens, and instantaneous response. But these are partially overcome by third party applications. As we all know the best camera is the one you have with you and since the iPhone is always with me it has become my goto camera. I really like the incredible apps that allow one to make art from photos right in the camera.

A photograph captures a moment in time – which moment do you wish you had captured, but didn't?

Great question! I’d have to say most recently it was a sequence of shots during the great American Solar Eclipse of 2017. It is a long story and I did get some great shots (according to my friends anyway) of the total eclipse from eastern Oregon, but I had spent months planning a carefully orchestrated, computer controlled sequence of images using three cameras through long lenses of the details of the eclipse just at the beginning and end of totality – the phases called the diamond ring, Baily’s Beads, and the chromosphere – but because of a strange, unexpected, circumstance of events, the clock on my computer switched from the pacific to mountain time zones just before totality without my knowledge and prevented the computerized script from running at the proper time. So, it’s a bit technical but during the long drive home from Oregon to New Mexico, all I could think about was what I should have done differently to have prevented the failure. It was a situation I could not rehearse, and an event that will never be repeated so a moment lost forever. I will eventually have some of the shots I did get after starting my script manually up on my website but it is not what I had spent months planning for.

You can see more of Bobs work by visiting www.rqfphoto.com

KAMCHATKA

Stay in exclusive accommodation, on the edge of the Earth, where the sun rises up from the Pacific Ocean and greets the summits of smoking volcanoes. In Kamchatka it seems that the world was created only yesterday and people still go on living surrounded by wilderness.

Russo-Balt Resort North Adventures is a balneological resort, situated on the Kamchatka. The cuisine, containing the freshest seafood and wildfowl, will create your mood. Whatever the weather, you can dive into an open-air pool with natural geothermal water of volcanic origin. The cultures of ancient people, skiing from the volcanoes, diving, rafting, marvelous views of the Valley of Geysers, untouched Tundra and the best hunting and fishing in the world – a dream come true.

Yacht A UNIQUE

The HANSE EXPLORER truly is a unique yacht. Launched in 2006 she was designed to explore the far reaches of the globe, where few vessels had been before and certainly no yachts.

In 2004, German ship-owner Peter Harren, founder of the ship management group Harren & Partner and a Captain himself, had a vision for a yacht-sized ship seaworthy enough to travel anywhere in the world. He commissioned the well-known German shipbuilder, Fassmer Werft, to build a true expedition yacht with the highest ice class and advanced navigational equipment.

In 2006, the HANSE EXPLORER took to the sea and after many seasons in the Polar Regions breaking through multi-year pack ice and weathering 50-knot storms in the southern ocean, she has earned her reputation of being the toughest yacht of her size. Since her launch, she has proven that there isn’t anywhere in the world she can’t go. Strength of management coupled with superior construction raises HANSE EXPLORER to a level of excellence you can feel.

THE DESIGN

A true expedition yacht, HANSE EXPLORER was built with the serious adventurer in mind. The original design was based upon a 42m fishery research ship, SOLEA, built by the same shipyard, using a round frame with a deep keel and good seakeeping characteristics, vital for exploring the Polar Regions. In order to ensure maximum comfort on board and a high quality spacious interior her beam was extended to 10.40m. The builder, Fassmer shipyard, worked in close collaboration with the owner to create the final design, while interior designer Gisela Miescke was commissioned for the luxurious interior.

The HANSE EXPLORER has the highest available commercial ice class (Finnish ice class A1, GL ice class E3), undoubtedly making her the toughest ship of her size. Her steel hull has the strength to endure the intensity of driving through multiyear pack ice while a booster mode, never seen before on a yacht, makes it possible to increase the power when the ship is encountering heavy ice and needs an extra thrust to break free.

The yacht was also designed to have minimal environmental impact. Her diesel engine is incredibly fuel-efficient, she has a shaft generator to produce electricity while underway and also has a desalination plant on board which can produce up to 20 tons of fresh water a day. The large fuel tank enables her to travel for up to 8,000 nautical miles without refuelling, and the storage space for provisions and garbage compactor enable her to travel for up to 6 weeks without the need for external

HANSE EXPLORER boasts all the luxuries of a first-class yacht, but her casual, expedition-oriented style will leave guests feeling like they’re in the comfort of their own living room. The bar and lounge offer panoramic views and are the heart of the ship’s guest area. Spacious interiors and a cozy atmosphere make for relaxed travels as you float by magnificent scenery. Guests can enjoy reading from the onboard library, watching DVDs on the large flat-screen TV, listening to music on the Bose entertainment system or sipping a cocktail while telling stories of the day’s adventures.

The unseen details such as the anti-rolling system, which reduces the ship’s movements at sea and the heating system, which is equipped with a steam humidifier, greatly increase the level of comfort experienced. After a day of exploring the Arctic, there’s nothing like warming up and rejuvenating in the deluxe, Finnish Sauna. On HANSE EXPLORER guests can find the perfect balance between adventure and relaxation.

Elegant and practical, staterooms on the yacht are bright, spacious and full of amenities that will be appreciated after a day’s exploring. Bathrooms are en-suite and each cabin is equipped with a satellite telephone, flat screen TV, DVD entertainment system and small desk. Rooms may be configured to either one double bed or twin-singles. All rooms are fully air conditioned/heated with individual controls in each room. In addition to the staterooms, the ship has an Owner’s Suite, which is situated on the upper deck. The Owner’s Suite has a casual, hanseatic style and offers a large, adjoining lounge for private gatherings.

THE ADVENTURES

Every excursion on HANSE EXPLORER is its own unique work of art; nature sets the stage while the highly experienced crew organise all the details to take guests into an untouched world. Whether guests are serious photographers, naturalists or simply love interacting with nature, excursions are custom fit to their interests and their schedule. The knowledge and experience of the crew allows them to safely bring guests deeper into the most beautiful and fascinating places on earth.

The yacht is equipped with all the gear necessary to keep guests warm and safe while exploring. Zodiacs provide access to shore landings and open water adventures. Expedition equipment for diving, snorkelling, camping, fishing and kayaking provide plenty of options for activities. The passion of the crew is guiding guests off the beaten path so they can discover how it feels to walk on a glacier, take a polar plunge or camp on the ice. Being flexible and embracing the unexpected can lead to amazing encounters with wildlife. Whether it’s a spontaneous zodiac ride to get closer to a humpback whale or a shore landing to sit with a group of emperor penguins, the crew will always be ready to explore every opportunity nature provides.

The advantage of a yacht like HANSE EXPLORER is that she can truly go anywhere in the world. As well as breaking through ice to provide guests with a close up view of polar bears in the Arctic or penguins in the Antarctic, she can also comfortably cruise warmer regions of the world. Whether it’s travelling to the Society Islands of the South Pacific discovering hidden lagoons, photographing the legendary stone statues of Easter Island or meeting the challenge of summiting Bouvet Island, the most remote island in the world, HANSE EXPLORER can sail to any destination on the planet.

ALL ABOUT the Girl

Conceived by Damien Hirst and handcrafted by Lalique, the Eternal collection is a series of sculptures and panels rendered in exquisite crystal.

Time stands still; life and beauty, death and chaos are frozen in crystal. They are themes that have remained central to Hirst’s work since the late 1980s.

In this collection, the British artist presents a series of motifs that can be read as emblematic of the cycle of life. Developed over a number of years through exchanges between the artist and the crystal workshops, this project has given rise to a series of exceptional pieces. Sleep depicts a human skull, a reminder of the inexorable passage of time, whilst Truth presents a dove carrying an olive branch. Belief features a constellation of coloured capsules insert into a cross; Sinner illustrates the sinuous curve of a serpent in a triptych of panels. Cross slices with open scissors, Immaculate depicts a dagger through a heart in flight.

The sculptures each act as distinctive statements of intent. They have been imagined, sculpted and perfected through hundreds of hours of work, using the mastery of the lost-wax process; a traditional technique revived by the award-winning craftspeople who work at the Lalique workshop. Each limited edition piece features the engraved signature of the artist and comes complete with a signed edition certificate.

A SYMPHONY OF LUSH EXTRAVAGANCE

Manolo Blahnik: The Art of Shoes exhibition organised by VOGUE Spain (in Madrid), is a tribute to the Spanish footwear designer, and takes place at Museo Nacional de Artes Decorativas from November 28th to March 8th. In celebration, Bulgari and cult fashion icon Manolo Blahnik have co-designed an exclusive opulent pair of shoes. In partnership with Vogue and cosponsored by Bulgari among other brands, the exhibition will retrace 45 years of fashion, art and culture through the creations of one of the world’s most influential shoe couturier.

Manolo Blahnik designs the most imaginative shoes just as Bulgari designs the most creative jewels: the result of this perfect collaboration is a pair of striking green silk satin pumps with ultra-precious ankle straps, counting more than 11,41 ct of diamonds, 48,61 ct of rubellites and 38,19 ct of amethysts. With its pink hued gems in the shape of Peperoncini - Italian for chilli pepper – the creativity of this décor descends from a Bulgari High Jewellery necklace of this year’s “Festa” collection. Regarded as aphrodisiacs, traditional ingredients or protective amulets, the lively

charms are imbued with multifaceted meanings, flavoring Manolo’s icons with a touch of Italian extravagance and a dust of folly. The combination of purple nuances with acid green, reflects Bulgari’s mastery in audacious colour juxtapositions and Manolo Blahnik’s passion for vivid and effervescent tones.

Called “Manolos” by their loyal devotees with the name of the designer, Manolo Blahnik shoes are not only about how they look, but even more about how they make women feel, empowered and elegant. A mission that resides in Bulgari’s philosophy, in the way it radically changed the history of jewellery with creations bursting with creativity and colourful charisma, to be worn as true gifts of joy.

Manolo Blahnik about the project:

“It has been an honour to work with such an iconic brand with a wonderful Italian heritage. We both share the same vision and creativity to produce beautiful things for beautiful women. I adored the accessory which was used, totally divine and perfectly complimented the zesty green satin!”

AUDEMARS PIGUET CELEBRATES THE LAUNCH OF ITS NEW MILLENARY

Swiss Manufacture Audemars Piguet is proud to present its new line of Millenary timepieces, which were unveiled during the Dubai Watch Week. First created in 1995, the latest women’s Millenary collection was launched in 2015. Inspired by contemporary design, architecture and art, the Millenary has been imagined from the inside out, exposing its different layers all the way through to the beating heart of the watch thanks to a hand-wound Manufacture movement built back to front.

In 2018, new ‘second-skin type’ metal bracelets are added to the white and pink gold cases launched in 2015. The case and dial remain unchanged; however, the bracelet’s Polish finishing completely transforms the watch, giving it a vintage look that matches the oval shape of the case and the roman numerals on the dial. Further to the Milanese bracelet, which was fashionable in the 50s and 60s, the Polish finishing on these metal bracelets offers a comfortable feel on the wrist, just like a second skin, and also provides a new, more supple meshing enriched by several adjustable links (every 5 mm) to perfectly fit every woman.

The Polish bracelet is the result of rolling-up a thread around an axis. This thread is then directed to the right, then to the left, to create a regular alternation, whereas on the Milanese bracelet, the wires are all threaded in the same direction. The Polish finishing offers new challenges to the production process, as each bracelet is individually handmade.

In addition to the metal bracelets, the Millenary line is also enriched by a new version featuring an opal dial, introducing this fine stone for the first time on a Millenary timepiece. It also presents the Frosted Gold finishing technique, which Audemars Piguet has only used on the Royal Oak collection so far.

The Frosted Gold finishing technique has been created in collaboration with Florentine jewellery designer, Carolina Bucci. The defining feature of the Frosted Gold resides in its shimmering sparkle, which in turn comes from a surface treatment process rooted in an ancient gold “hammering” technique, also called the Florentine technique. By beating the gold with a diamond tipped pneumatic tool vibrating at 200Hz (12,000 beats/minute), it creates tiny indentations on the surface that give a sparkle effect similar to that of precious stones, like diamond dust. For this new Millenary, the bezel, the inner bezel, the top of the lugs and the case’s sides at 9 and 3 o’clock have been frosted.

The Millenary can also be complemented by its new line of straps allowing women to give their look a new edge. Now offering new textures, patterns and colours that can be switched endlessly, Audemars Piguet women’s watch designs do not only echo changing lifestyles, but also capture the character of the women who wear them.

LONGCHAMP EYEWEAR

Inspired by details from the emblematic Longchamp bag collection, this new eyewear collection features feminine shapes, vibrant colors and innovative designs. Each style embodies the brand’s characteristic elegance while honoring the heritage of the brand and traditions of excellence, making a true fashion statement. The Longchamp woman shares the brand’s vision of style and active fashion, where the details and finishes, like the relaxed comfort and pleasure of wearing them, make the difference.

“Eyewear is a complementary and logical new product category for the Longchamp brand. Eyewear was the missing element to complete and enhance our portfolio, and the wardrobe of the Longchamp woman.”

Jean Cassegrain, Chief Executive Officer, Longchamp.

Carolina Herrera’s iconic White Shirt has reinvented itself season after season to give birth to new timeless models. A garment that has undergone countless transformations and gives a spark of elegance to any look; in the designer’s own words:

“You can wear it with or without jewelry, with jeans or with a long or short skirt. It can be worn for special occasions or even for work”.

Always made from exquisite crispy cotton, Carolina Herrera has placed a special emphasis on the White Shirt since she started in 1981 and it has become a must have of the brand.

PURE SWISS

LUXE ORGANIC SKINCARE

YANG MI

Actress Yang Mi is a veritable superstar in China, boasting over 70 million followers on Chinese social media site Weibo. And as fashion’s newest style darling, don’t be surprised when you see her during fashion week.

ELLA RICHARDS

Meet London’s latest modeling sensation — who also happens to be the granddaughter of The Rolling Stones’ Keith Richards. Ella Richards has been making waves in the fashion industry since 2015 — and at 21, she’s only just getting started.

MICHAEL KORS

THE WALK

MICHAEL KORS IS PLEASED TO ANNOUNCE THE LATEST ITERATION OF MICHAEL KORS THE WALK.

IN THE CAMPAIGN, OUR FAVORITE NEW FASHION INFLUENCERS TAKE THE SEASON’S MUST-HAVE BAG, THE SADIE, TO THE STREETS OF LONDON.

THE CAMPAIGN STARS THREE INTERNATIONAL TRENDSETTERS—BRITISH MODEL ELLA RICHARDS, AMERICAN MODEL SELAH MARLEY AND CHINESE ACTRESS YANG MI—WHO STYLED THEMSELVES IN THEIR FAVORITE PIECES FROM MICHAEL MICHAEL KORS.

SELAH MARLEY

As the daughter of Lauryn Hill and granddaughter of Bob Marley, stardom is written into Selah Marley’s DNA. But the 18-year-old is breaking boundaries of her own, defying the odds of petite models everywhere by landing high-profile campaigns and runway shows. Watch this space.

Bulgari hotel Milano

Located in beautiful Brera – one of Milan’s most prestigious districts and one rich in cultural heritage and close to luxury shopping attractions – the Bulgari Hotel is set in the centre of a bright 4000sqm private garden next to the Botanical Gardens.

The hotel comprises just 58 rooms and suites, most with garden views. Impeccable standards of service are tailored for each guest, and delivered by more than 100 employees under the direction of General Manager Attilio Marro.

BVLGARI HOTEL MILANO

The first Bulgari hotel was opened in Milan in Via Privata Fratelli Gabba, 7b on May 18th 2004. The opening marked the entry of the Bulgari Group – one of the major players in the luxury business – into hospitality.

Ten years later, the hotel celebrated its anniversary with the unveiling of freshly renovated rooms and public spaces, a new spa collaboration, and culinary treats.

The heart of the original classical yet contemporary design by the renowned architects Antonio Citterio, Patricia Viel

and Partners has been refreshed with cream coloured linen wallpaper, new furniture from Antonio Citterio’s Flexform Collection and Maxalto, drapes by Enzo degli Angiuoni, B&B module libraries, and plush carpets by Altai. Framed sketches of iconic Bulgari jewels have been added to all the rooms, while the suites feature a new collection of arts and design books.

In the public spaces, archival sketches from the 1950s of Bulgari’s famed ‘spille Giardinetto’ – or garden brooches –hang in all the elevator landings, alongside images in the

lobby of celebrities long associated with Bulgari – such as Monica Vitti, Sophia Loren and Anita Ekberg.

One of the most extensive renovations took place in The Spa where a private new couples treatment room, sauna, and outdoor Jacuzzi were added as well as a new collaboration with the luxury skincare specialists, La Mer.

The three key elements that distinguish the hotel are its unique location, its contemporary design, and the variety

of services, all of which have been crafted with the same attention to quality that has always distinguished Bulgari creations.

The restaurant, the bar with terrace and lounge in the garden, private dining room, cigar room and the spa have also been planned with the local Milanese residents in mind and have become a local, social destination. Two boardrooms seating up to 35 guests and a private dining room are available for meetings or private gatherings.

At the heart of the Bulgari Hotel Milano is a delicate balance between rigorous design of the space and the richness of atmospheres, achieved through the use of heavy, solid materials such as black marble from Zimbabwe and bronze. Situated in Via Gabba, the building dates from the 1950s. The design sensibilities of that era, combined with the smart design of the street built up over the past 30 years, all serve to highlight the hotel’s graphical composition. The white marble façade creates a refined and light mood that contrasts with the massive design of the neighbouring stone buildings.

The use of black granite and Burmese teak wood create an elegant, though informal environment that is perfectly in line with the garden, itself an extension on the interiors.

All the rooms are organised in a logical sequence of spaces, from the perfectly proportioned entrance to the most intimate areas of the bathroom looking onto the garden. Here, the pale colour of bleached oak prevails while the lighter hues of natural fabric provides warmth. The mood-lit bathroom, dominated by a black granite bathtub, and the warm colour of the Navona travertine stone of the basin and shower, is a striking contrast to the paleness of the bedroom.

Located on the hotel’s top floor, the Bulgari suite is a quiet haven – expansive, yet private. An almost three-meter deep gallery protects a completely transparent façade and creates an open space on the garden with a spectacular view of the town.

Careful design has been applied to every single detail of the Bulgari Hotel Milano.

The project for redeveloping the garden of the Bulgari Hotel offered an opportunity to rediscover one of the few historical gardens in Milan.

The garden used to be the vegetable garden of a monastery. Over the years, it was divided into small plots, before it became a welcoming and worldly garden sitting room in the 19th century, a period which was followed by its inexorable decline into botanical wildness.

During the restoration project, the Milanese-Lombardy character of the garden and its setting were underlined. The goal was to evoke, in a contemporary way, the great number of gardens of historical villas that have strongly contributed to the design of the local landscape.

Hence, the choice of trees and shrubs which are typical of such historical parks and gardens - some of which were already present in the Bulgari Hotel’s garden. These have been arranged so as to create a succession of open-air rooms following a single unifying plan.

The journey through the garden ends at the private Dom Perignon Bar, itself surrounded by a tall red beech hedge.

The search for excellence that characterises the Bulgari Hotel Milano is the inspirational motive for the cuisine created by the chef Roberto Di Pinto. He finds the luxurious but informal environment of the restaurant an ideal stage for his work where the basic elements of superior quality, refined techniques and creativity, coupled with the freshest and most seasonal produce, are the fundamental ingredients of his cuisine.

Italian tradition, based on strong flavours and on the consistency of the dishes, inspires the Bulgari Hotel Restaurant to offer a contemporary twist to classics dishes. The menu is characterized by a dichotomy of harmonious yet contrasting elements and by a constant aesthetic search for colours and volumes. Different tastes, linked to the different moments of the day, to the climate and to the season, are articulated in fresh, light, promptly served lunches, while dinners provide opportunities for more elaborate dishes. Meals are available either at the tables set with handmade dishes and Bulgari flatware, or more casually at the Bar – both of which overlook the beautiful garden.

The newly renovated Spa at the Bulgari Hotel has been conceived as an urban shelter for the mind and the soul. The new spaces include a private couples suite with mosaic steam shower, a marble steam room and Swedish sauna scented with eucalyptus essence, and an external Jacuzzi. There are three exclusive product lines: La Mer with its legendary Miracle Broth, Amala 100% NATRUE certified, and the Sothy’s gentlemen’s studio.

The renovation has enhanced the spa’s original elegant architecture to offer a unique setting. Its contemporary design creates a fascinating counterpoint to the ancient philosophies of wellbeing that underlies the modern treatments.

With the explicit goal of slowing down the hectic rhythm of the city, and to create pleasant moments of wellbeing and relaxation, the Bulgari Spa’s specialists have created exclusive treatments and products with pure and completely natural ingredients such as essential oils and plant extracts.

and Luxury 3D Printing

It is the new grail, everyone is talking about it! It is the third industrial revolution. The market is booming, representing USD 4.5 billion in 2014 (Wohlers Report, SmarTech Markets, Credit Suisse; A.T. Kearney study), it should grow by 25% per year to reach USD 17.7 billion by 2020.

The technical applications are many fold and disrupt industries all around. We are already dreaming about gigantic machines printing bridges, buildings, houses or cars, in a fraction of the time. The most advanced developments are in the medical field, where 3D printed plastic bones, internal organs or complete limbs are already being used. 3D skin is starting to appear, which has tremendous applications for heavily burnt victims as well as for the cosmetics industry. The possibilities are endless. How does it affect the Luxury industry? What are the implications for watchmaking and jewellery for example? But first, how does it work? The concept is simple...but the implementation is very complex.

It is an additive technology, which adds matter instead of taking some away. For metals, you start with a 3D computerized model which you divide into 20 to 30 microns thick layers. The machine solidifies a layer then fuses the next layer on it with a laser until you obtain a final 3D model. Simple!

Concretely, in watchmaking or jewellery, today’s technology enables prototypes in wax, plastic, steel or titanium to be created. The major interest resides in the creativity it unleashes. Any geometrical form is now possible and time to materialize it is reduced tremendously. PANERAI used an approaching technic, laser sintering, for its limited series (150 pcs) Lo Scienziato Luminor 1950 Tourbillon GMT Titanio 47 mm. Its hollowed titanium case was impossible to create otherwise and they achieved an impressive weight loss. This can only be done on very small series...with a significant price tag of around $125.000.

H.MOSER & Cie unique sapphire glass case timekeeper with its 3D printed bracelet at US$ one million is another example of where the technology stands for now. In 2015, the famous Schaffouse manufacture unveiled a bold masterpiece combining an unprecedented golden skeleton movement, a case made entirely from sapphire crystal and a strap created using 3D printing – a world first : the Venturer Tourbillon Dual Time Sapphire Skeleton. The one-of-a-kind strap features a delicate structure, like interwoven lace. It seems almost abstract, organic, ethereal. This shows the potentialities of 3D technology to materialize incredibly complex structures.

Similarly, jewellery can nowadays be created on the same model.

Maison Jaubalet, in Paris, produces unique custom-designed ne jewellery using 3D printing. First the customer sends a sketch or a description of his dreamed jewellery. Jaubalet’s team of craftsmen offers the customer some possible sketches. When

the design has been agreed upon, the Maison produces a 3D design of the jewellery, 3D prints a resin version of it and postprocesses it before shipping it to the customer, who has the possibility to try the unique piece before the expert craftsmen start making the final jewellery.

Some even profess printing the metal directly. Kinematics developed a method for 3D printing segmented pieces that can be folded or unfolded into much larger objects. It uses a jewellery-specific direct metal laser sintering (DMLS) technique to 3D print the piece. But its density is only 70-75% unlike with full laser fusion printing which can reach 99.8%.

For the time being, the true value of 3D printing for Luxury is more industrial, as the time to market is shrunk to a few weeks or days to create a prototype or a mould . Then human hands are still required to create and finish the luxury pieces.

Nonetheless 3D printing offers limitless possibilities of creativity and personalisation. Soon anyone will be able to design their own jewellery or watch and wear his or her unique creation...

But what makes a timekeeper or a piece of jewellery exceptional? The creativity of its design, the expert craftsmen hands that have painstakingly spent countless hours, refining every detail to achieve excellence, the secular savoir-faire that elevate handcrafts to the level of Arts. No machine will supersede man’s hands to perform the ‘métiers d’arts’ associated with fine watchmaking or fine jewellery. They are part of the luxury dream and what make all these precious creations unique: guilloche, bevelling, polishing, engraving, stone-setting...by hand, the only extension of the creative human mind.

Le Richemond

Geneva

DISCOVER A LAKESIDE ESCAPE

A BREATH OF SWISS FRESH AIR AGAINST THE BACKDROP OF THE ALPS

BREATHTAKING VIEWS ON THE JET D’EAU AND THE MONT BLANC

FRENCH SEASONAL CUISINE AT LE JARDIN RESTAURANT LE SPA BY SISLEY & FITNESS

CELEBRATION OF MEMORABLE EVENTS

DIEGO MARCON, UNTITLED (HEAD FALLING 01), 2015

CAMERALESS ANIMATION, FABRIC INK, PERMANENT INK AND SCRATCHES ON 16MM CLEAR LEADER, COLOR, SILENT, 10'' IN LOOP, FILM FRAME, COURTESY ERMES-ERMES

Prize THE MAXXI

DIEGO MARCON, UNTITLED (HEAD FALLING 02), 2015 CAMERALESS ANIMATION, FABRIC INK, PERMANENT INK AND SCRATCHES ON 16MM CLEAR LEADER, COLOR, SILENT, 10'' IN LOOP, FILM FRAME, COURTESY ERMES-ERMES

BVLGARI PRESENTED IN LONDON

MAXXI AND BULGARI TOGETHER FOR YOUNG ART

Conversations between MAXXI, the first Italian national museum dedicated to contemporary creativity, and Bulgari, for over 130 years an emblem of creativity and excellence, were first established in 2014, on the occasion of the exhibition Bellissima. The Italy of high fashion 1945-1968, of which the maison was the main partner. With the MAXXI BVLGARI Prize this partnership – based on shared values such as memory, innovation, passion, creativity and experimentation and on an awareness of the importance of support for culture and the strategic role of the public-private alliance – is being consolidated. As Giovanna Melandri and Jean Christophe Babin Bulgari CEO, jointly agree, “supporting young talents means investing in the creativity of our time and our future”.

Bulgari’s involvement with the Premio MAXXI represents a continuation of the firm’s tradition of prestigious partnerships with contemporary artists of the calibre of Zaha Hadid and Anish Kapoor who revisited with their unmistakable style one of the maison’s most admired icons, the B.zero1 ring. Zaha

Hadid was also responsible for a virtuoso reinterpretation of Bulgari’s celebrated Serpenti motif with an evocative artistic installation that debuted in 2011 in the Bulgari pavilion at the Abu Dhabi Art Fair.

“It is a very special day for MAXXI”, says Giovanna Melandri. “We are presenting a crucial partnership, which will nurture our national prize and grant it an ever-more international dimension. Today we are announcing the names of the three short-listed artists, all of whom are extremely talented and chosen by a jury of great prestige. I am particularly proud and wish to thank Bulgari, a symbol of Italian creativity and quality, with whom we shall be working for the next six years. This agreement is the tangible proof of the strategic value of the non-ephemeral alliance between public and private within the cultural arena. I would like to acknowledge the jury and congratulate Talia Chetrit, Invernomuto and Diego Marcon. Our particularly complex times are analysed and interpreted through their art, with a language that knows no boundaries. I have no doubt that the exhibition at MAXXI will leave a strong mark.”

DIEGO MARCON, THE FLINTLOCK (DICK THE STICK'S SAGA), 2016 NEON TUBES, FREE STANDING IRON STRUCTURE, TRANSFORMERS, TIMER, ELECTRIC CABLES, 210X130X60 CM PHOTO: PACO GÓMEZ, COURTESY ART SITUACIONS

MIMMO ROTELLA’S REPLICANTE (1990)

PORCELAIN, PLASTIC, STRAW, COTTON, SILK, FEATHERS, GLASS, ACRYLIC PAINT, PYRITE, GLASS GEMS, BRASS, 2016. PH. GIULIO BOEM. COURTESY OF THE ARTISTS, & PINKSUMMER GALLERY

Jean Christophe Babin, CEO of the Bulgari Group, has commented: “We are very proud of this partnership with MAXXI, the Italian museum of excellence that with its constant attention to experimentation has so much in common with the Bulgari brand. The MAXXI BVLGARI Prize is the perfect expression of this synergy: it valorises the young protagonists of contemporary art while at the same time recognising Italy as a source of inspiration.”

MAXXI BVLGARI PRIZE 2018: THE FINALISTS

The MAXXI BVLGARI Prize is a major project supporting and promoting young artists. It represents a continuation as well as the evolution of the Premio MAXXI, responsible for the founding nucleus of the museum collection and a springboard for young art talent. Thanks to the extraordinary partnership with Bulgari, the prize now enjoys renewed vigour and has expanded its horizons with the objective of promoting and valorising not just Italian artists but also those foreign artists who over the last two years have produced a new project in Italy within the ambit of public institutions and private situations.

As Bartolomeo Pietromarchi says, “Thanks to the network of the ‘art system' in Italy composed of galleries, foundations,

associations and private collections open to the public, every year artists of extremely high quality are discovered. Starting this year, the Prize also aims at valorising this ‘art system.’ I would like to point out that the finalists have been chosen from a list of names proposed by some of the most attentive and widely recognised young Italian critics, curators and an Italian artist. I would like to thank them all.”

Lucia Boscaini adds: “All three finalists in this edition have shown a distinct propension for reinventing genres and giving life to an extremely personal and highly original language. I am certain that this prize will in future years continue to be crucible for highly innovative artistic practices within an constant rereading of the reality that surrounds us.”

The jury was unanimous in selecting as the finalists in the 2018 edition Talia Chetrit, Invernomuto and Diego Marcon, as they “have all demonstrated a clear understanding of the historical moment in which we are living and a capacity for expanding the confines of the artistic idiom.”

Talia Chetrit (Washington DC 1982, lives and works in New York), was chosen “for her ability to reinvent the use of

TALIA CHETRIT, PORTRAIT BY TINA TYRELL, COURTESY OF THE ARTIST.

photography mixing past and present languages in her interpretation of relationships between the body, the gaze and identity”. She was proposed by Luca Lo Pinto, a curator at the Kunsthalle Wien and founder of the magazine and publishing company Nero, who writes: “Chetrit’s visual style alludes both to art history and commercial photography with references to the history of still lifes and the objectified representation of women within the first avant-garde movements. In her latest work, she has realized series in which she uses her body to undermine the conventions of self-portraiture and its mechanisms of control”. Invernomuto was born in 2003 out of the collaboration between Simone Bertuzzi (1983) and Simone Trabucchi (1982). The duo lives and works between Vernasca (PC) and Milan and was chosen by the jury “for its ongoing interrogations of global social and political issues filtered through a local imagery influenced by both pop and subcultures which makes their work personal and sincere”. As Luca Lo Pinto who proposed the duo writes: “They developed an approach which avoids the use of a single language or

medium. Their practice suggests an expanded notion of art which can embrace sculptures, artefacts, music, performances, films where the boundaries are constantly renegotiated”.

Diego Marcon (Busto Arsizio, Varese, 1985, lives and works in Paris) was chosen “for taking an original, poetic approach to experimentation with audiovisual technology and cinematic genres and critical review of historical sites”. He was proposed by Edoardo Bonaspetti, director and founder of the magazine, publishing house and agency Mousse, who writes: “The work of Diego Marcon focuses on the moving image…exploring the evocative potential of what is not immediately visible. Themes that recur within this creative framework include sleep, boredom, and time conceived as circular, stretching toward infinity”.

The site-specific works by the short-listed artists will be exhibited at MAXXI from May 2018 in an exhibition curated by Giulia Ferracci. In October 2018, the jury will designate the winner whose work will be acquired by the museum.

DIEGO MARCON, MONELLE, 2017

35MM FILM, CGI ANIMATION, COLOR, SOUND, 13'56'' IN LOOP FILM FRAME, PRODUCED BY IN BETWEEN ART FILM, COURTESY ERMES-ERMES

PICO - UN PARLANTE DE AFRICA

EN AMERICA, FILM STILL, 2017

COURTESY OF THE ARTISTS & PINKSUMMER GALLERY

TALIA CHETRIT, EVER (SWING), 2014/2016

INKJET PRINT, 15 X 11,9 IN / 38,2 X 30,4 CM, ED. 4 + 2

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