Tempus Magazine | Issue 61 | April - May 2019

TIMELESS INSPIRATION

HAND TO HAND How family traditions inspire Britain’s most enduring businesses

ISSUE

61

BRITISH COUTURE | THE FUTURE OF LUXURY | MODERN GROOMING STYLE EDITION

NOT AVAILABLE EVERYWHERE. WE INTEND TO KEEP IT THAT WAY.

Moritz Grossmann’s watches have always been something special.

By mastering modern craftsmanship we are now taking his visionary spirit to the 21st century.

SCHÖNST E S DEU TSCH E S H A N DW E R K

William & Son, London · Define Watches, Noosa · Juwelier Scholze, Bautzen · Juwelier Eggebrecht, Berlin · Juwelier Reuer, Berlin Tewes Juwelier, Dortmund · Leicht Juweliere, Dresden · Morawitz Juwelier, Düsseldorf · Leicht Juweliere, Hamburg · Juwelier CW Müller, Koblenz · Juwelier Carl Glück, München · Juwelier Windecker, Oberursel · Juwelier OEKE, Weimar · Juwelier Seilnacht, Freiburg Antoine de Macedo, Paris · Moritz Grossmann Japan Co., Ltd., Tokyo · Hirano Watch & Jewelry, Nagoya · Eye Eye Isuzu, Takamatsu Nihombashi Mitsukoshi, Tokyo · Khronos Unique Horlogerie, Kuala Lumpur · Swiss Prestige, Hong Kong · Juwelier Präg, Dornbirn · Al Majed Jewellery, Doha · Juwelier Seiler, Basel · Haute Horlogerie Schindler, Zermatt · Atelier Wassmann, Zug · Caratell PTE Ltd., Singapore GRASSY S.A., Madrid · Pirlant, Bursa · Oster Jewelers, Denver · Cellini Jewelers, New York · Ahmed Seddiqi & Sons, Dubai www.chrono24.com/moritzgrossmann · www.boutique.grossmann-uhren.com · www.budapester.eu · www.viennaart.net

www.grossmann-uhren.com

Consumer and corporate cards available

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CONTRIBUTORS

Mark C O’Flaherty A journalist and photographer based between London and New York, Mark contributes regularly to the Financial Times, The Telegraph and Esquire. On page 28, find out what happened when he took his camera behind-the scenes at London's oldest family businesses.

Charlotte Metcalf Renowned documentary film director and journalist Charlotte turns her pen to the topic of interiors to explore this year’s hottest design trend, maximalism. Turn to page 90 to read her thoughts on the subject.

Lee Kynaston Grooming guru Lee writes about the industry for the likes of Men’s Health and Telegraph Men. On page 58 he unveils the leading trends revolutionising male beauty in Britain.

Lysanne Currie Former editor-in-chief of Director, Lysanne heads to Spain to discover why Malaga is the most surprising luxury destination in Europe. Discover her findings on page 82.

Farzana Ali Wellness and beauty expert Farzana turns her nose to the world of perfume to explore how fine fragrance houses are evolving with the tastes of modern luxury consumers. Read her story on page 52.

Responsibly printed Tempus magazine is printed on FSC-certified paper that’s been sourced in an environmentally-friendly, socially responsible and economically viable way. All paper stock can be traced back to the original location.

Shortlisted for: Editor of the Year – Independent, 2018 Art Director of the Year – Independent, 2018

EDITORIAL TEAM Editor-in-Chief Rachel Ingram rachel@tempusmagazine.co.uk Creative Director Ross Forbes ross@tempusmagazine.co.uk Digital Editor Michelle Johnson michelle@tempusmagazine.co.uk Sub-Editor Dominique Dinse

FROM THE EDITOR

COMMERCIAL TEAM

W

ith the UK’s future hanging in the balance as Tempus goes to press, it’s important to remember the strength of British character and craftsmanship. In London alone, numerous brands, from tailors and hat makers to perfumeries and fashion houses, are standing tall in the face of uncertainty. As Jonathan Lobb, fifth-generation family member of John Lobb, one of the country’s oldest shoemakers, tells us: “We’ve had to weather numerous recessions and the two World Wars… We will inevitably face challenges in order to protect the company, which we will face as our ancestors did.”

It’s clear from the business leaders we’ve spoken to this issue that retaining the loyalty of customers is more important than ever – find out how some of London’s oldest and most successful brands are retaining their position through authentic craftsmanship and family heritage on page 28.

In this Style Edition, we also delve into the world of couture and speak with the duo behind Britain’s only couture house, Ralph & Russo, on page 22, before uncovering the most exciting names in watch customisation (page 38) and corporate-wear (page 46).

We’ve also given this issue a hearty dose of star power. On page 40, actress Nicole Kidman and model Cindy Crawford discuss their enduring style and the importance of timekeeping in their busy worlds.

Read on to page 64, where British actress and activist Joanna Lumley opens up about her mission to promote responsible fashion.

And as style isn’t just about clothing, we head to Courchevel to speak to Rolls-Royce bespoke designer Alex Innes about the British manufacturer’s first-ever luxury SUV and the design detail that went into it (page 68). We also immerse ourselves in beauty, presenting guides to the newest trends and must-have buys in the realms of fragrances (page 52) and grooming (page 58).

Read on to discover all of these insights – and more from the worlds of style, design, travel and culture – in this, our annual Style Edition.

Chairman Floyd Woodrow Managing Director Peter Malmstrom Operations Director Colin Clark colin@tempusmagazine.co.uk Events and Partnerships Director Georgia Peck georgia@tempusmagazine.co.uk REACH OUT Address Tempus Magazine Vantage Media Group 22 South Audley St London W1K 2NY Contact +44 (0) 203 519 1005 info@tempusmagazine.co.uk www.tempusmagazine.co.uk

Enjoy the issue.

Rachel Ingram

tempusmagazine.co.uk @tempusmagazine @tempusmagazine

Tempus magazine is published by Vantage Media Group. www.vantagemediagroup.co.uk

© 2019 Vantage Media Limited Articles and other contributions published in this journal may be reproduced only with special permission from the Publishers. The Publishers, Vantage Media Limited, accept no responsibility for any views or statements made in the articles and other contributions reproduced from any other source. No responsibility is accepted for the claims in advertisements appearing in this journal and the Publishers reserve the right to accept or refuse advertisements at their discretion.

Cover image: A shoemaker at work Credit: Dean Drobot Article on page: 28

CONTENTS

10 The luxe list This season’s top 10 must-haves 14 Make or break? The global chief executive of Sterling Media on the keys to brand success in modern Britain 16 Future perfect The four surprising innovations about to revolutionise the luxury industry 22 Designs on success How Ralph & Russo is conquering the British couture scene 28 A family affair Artisans in Mayfair are playing the generation game with traditional craftsmanship 38 In his own time Renegade of watchmaking George Bamford on putting his stamp on the world’s finest timepieces 40 Famous faces Nicole Kidman and Cindy Crawford discuss the power of timekeeping in a man’s world 46 The new dress code Designer Cherida Patterson is on a mission to reinvent corporate-wear 50 Skin deep Beauty industry expert Sue Y Nabi on the science of ‘clean’ skincare 52 Uncommon scents Perfume industry innovators leading the way in the evolution of fine fragrances 58 Groom for improvement The trends and treatments rocking the world of men’s personal styling 64 Born to be wild Joanna Lumley tells us why she’s on a crusade to promote ethical fashion 68 Driving ambition In conversation with Rolls-Royce bespoke designer Alex Innes about its extraordinary new model 74 Thai break Thailand is leading the way in the world of eco-luxe travel 80 French fancy Taste-testing the food – and the exquisite wine – at Paris’ legendary Le Clarence restaurant 82 Spanish star rising Why sun-drenched Málaga is the most surprising emerging luxury destination 84 Suite dreams A eye-opening glimpse inside London’s luxe hotel rooms 90 More is more Exploring the hottest interiors trend of the moment – maximalism 94 Mod-ern style A preview of the season’s hottest ticket – the V&A’s exhibition on fashion icon Mary Quant 96 Save the date The finest events of the season from around the world

ISSUE 61

Designs on success 22

The LUXE LIST Our essential guide to the most exciting new launches and finest seasonal must-haves

2

Giles x Aspinal Hot Brit fashion designer Giles Deacon and leading luxury goods manufacturer Aspinal of London have joined forces to create a limited-edition accessories collection. From mini trunk and ‘hat box’ handbags to printed silk scarves and pocket squares, the playful collection brings a touch of quirky couture to the traditional British brand. aspinaloflondon.com

3

Dukes London Cognac and Cigar Garden

Iconic hotel Dukes London has partnered with Rémy Martin to create a new cognac and cigar garden in the heart of Mayfair. Open just in time for spring, the venue offers guests a premium epicurean experience, including cognac and food pairings, cognac and cigar pairings and a special cocktail menu – a taste of luxury for everyone. dukeshotel.com

1

Moritz Grossmann Corner Stone

Independent German watchmaker Moritz Grossmann unveils the Corner Stone, its first-ever rectangular watch. The timepiece comes in three variants, the most premium of which (pictured, left) is limited to 25 pieces and features a white enamel dial, a gold case and rare brown-violet hands which have been handcrafted and coloured via an intricate heating process. The rose-gold model is priced at £26,250 –time to snap one up. en.grossmann-uhren.com

4 Pulbrook and Gould Based at Thomas Goode & Co, Pulbrook and Gould is Mayfair’s premier florist.

From bespoke bouquets and planted arrangements to the finest synthetic flowers in London, there’s much to brighten up your home or office this spring. For something truly special, order a life-sized, handcrafted bespoke peacock from the Haute Couture Collection, featuring extravagant plumage made from silk petals and flowers, sequins, diamantes, costume jewellery and authentic feathers – at a cool £15,000 this is definitely not one for the birds… pulbrookandgould.co.uk

5

Belmond Cadogan Hotel

6

A luxurious new reopening in Chelsea, Belmond Cadogan Hotel brings a touch of worldly luxury to the royal borough. Its first hotel in London, Belmond has given the property a £39m refurb, blending original features with modern touches.

The hotel is home to 54 well-appointed rooms and suites and a restaurant overseen by esteemed chef Adam Handling. Top tip: guests also get access to the residents-only Cadogan Place gardens, stunning in spring.

Deakin & Francis cufflinks

belmond.com

deakinandfrancis.co.uk

7

Burlington Arcade 200th Anniversary Limited Editions

To celebrate Burlington Arcade’s 200th anniversary, luxury brands have created limited-edition pieces available only at this premium shopping spot. Fabulous items on offer include a special version of Church’s Shannon men’s shoe (right) and Atkinsons’ stunning new eau de toilette, The Joss Flower. And a rare Piguet art decoDiamond platinum Outrage and diamond tiara by Garrard, from Audemars antique jeweller Susannah Lovis, can be yours for £79,000. burlingtonarcade.com

One of Britain’s finest cufflink makers, Deakin & Francis has been designing and hand-crafting sophisticated accessories in Birmingham’s Jewellery Quarter since 1786. This art deco-style 18ct white gold pair with diamonds and blue sapphire (above, £10,480) is a perfect example of the delicate craftsmanship and fine materials that goes into each set. A real talking point.

Home Grown Opening on 3 April, Home Grown is a new venture from the visionaries behind Home House. A breath of fresh air to London’s exclusive membership club scene, Home Grown gives entrepreneurs an inspiring space to work, socialise and exchange ideas. Members of the club in Great Cumberland Place can also enjoy the benefit of access to private events and the facilities at the nearby Home House. homegrownclub.co.uk

9

8

Morgan Plus Six Linchpin of British culture and heritage Morgan Motors unveils the Morgan Plus Six. Representing a new era of manufacturing, this elegant motor replaces the iconic V8-powered Plus 8 and is said to be the most dynamically capable Morgan ever produced.

Book a test drive at London Morgan – and take to the road in a piece of genuine motoring heritage. londonmorgan.co.uk

10

35 Hudson Yards

The most exciting development in New York in recent years, Hudson Yards finally opened in March, with the world’s eye watching on closely.

Grand two- to six-bedroom apartments atop the flagship Equinox Hotel are on the market from $5m and property investors still have a chance to get a slice of the (Big Apple) pie. hudsonyardsnewyork.com

MAKE OR BREAK? Natasha Mudhar, global chief executive of Sterling Media, on the key factors that determine a luxury brand’s success in modern-day Britain

C

onsumers are looking for much more than just a very expensive brand. When engaging modern audiences, you’ve got to make that relationship meaningful and purposeful. You’ve got to tailor the brand, the messaging and the concept in such a way that you’re going to really hit the nail on the head the first time around for your audience. I think this is a major trend that we’re seeing around the world, not just in luxury, but with brands in all industries.

In my business, we’re commercial but we’re very much about doing well by doing good – that’s our philosophy. The moment companies realise they can be profitable and purposeful at the same time, that’s the winning formula. You don’t have to only be aligned to philanthropic ventures, or give back all the time, you can actually be making money in the process.

My advice for luxury brands in the present climate goes back to basics.

You’ve got to know your product, your market and your audience.

You have to tailor your strategies and your product according to the person that you’re looking to garner interest from. I think we’ve also got to remember that local is no longer the norm and global the exception.

All of the audiences that we’re dealing with nowadays are global

citizens – they have global profiles and they’re constantly travelling. This is especially true in the luxury segment.

So, as well as being purposeful and meaningful, you’ve also got to be more global in your outlook.

It’s not just about your local markets, there’s a huge global marketplace out there which may be interested in your brand. Many brands in the UK are attracting a lot of interest from emerging markets such as China, India and the Middle East.

Spenders are looking to ‘Brand Britain’.

I think Harrods is doing this pretty well. It has retained its reputation as the purveyor of British excellence and is attracting a lot of interest from international markets, while not losing focus on its core British market.

You’ve also got to be futuristic and think about the upcoming trends. You’ve got to think about the dynamics of the audience and how that’s all changing. Take millennials – to attract them, you’ve got to be flexible and fluid as a brand, you’ve got to be adaptable and really understand the audience.

Whether you have a physical bricks-andmortar property such as Harrods or you operate through a website, your customer has to feel something when you step into your space. It’s very important that you’re creating a memorable experience for your customers. As well as meaning and purpose, ambience, whether online or offline, is exceptionally important. sterlingmedia.co.uk

COLUMN Harrods succeeds in taking ‘Brand Britain’ to an international audience

FUTURE PERFECT Aleksandra Szymanska from the Future Laboratory unveils the trends on track to transform the luxury industry in the next five years

FORECAST

WE’RE GOING TO SEE A HUGE RISE IN PURPOSE-DRIVEN PRODUCTS AND SERVICES. FOR EXAMPLE, LABGROWN DIAMONDS, CAUSE-DRIVEN INVESTING AND EQUITABLE LUXURY TRAVEL

WEALTH OF KNOWLEDGE

Lab-grown diamonds are a dazzling example of purpose-driven products

The first and most important trend, in my opinion, is the changing attitudes of luxury consumers. Today, the dynamic among this society’s wealthiest is evolving – there’s still a large group of luxury consumers who feel comfortable in their position, but we’re also seeing a growing group of high-net-worth individuals who are increasingly uneasy, maybe even anxious, about how their moral worth is linked to their wealth.

It’s no longer possible to ignore the provincial negative impacts of wealth and I think this is what’s driving a major reassessment of what’s appropriate when it comes to owning, investing, and showing.

Leading wealth management, trust and private banking company Boston Private undertook a study of those with assets ranging from £780,000 to £15.6m. They found 30% of participants identified a major negative of wealth was the feeling of being judged.

Recent reports suggest the top 1% of the world’s richest people own as much as the poorest 50%. But American philosopher Matthew Stewart told us that, in the US in particular, it’s not the 1% but the 9.9% which holds and shapes the nation’s wealth. These individuals, who are all worth more than £935,000, are usually midlevel investment bankers, doctors, dentists and lawyers.

They represent a very different mindset to the traditional elite class. They are more culturally diverse, they dress casually, they have faith in facts rather than religion, and most of them are proudly self-made. Despite huge homes and even bigger investment portfolios, they feel uneasy and want to shy away from their affluence.

This outlook is also extending downward towards the youngest consumers. Yet another study found that 81% of 13- to 34-year-olds agree that showing off expensive goods you’ve bought on social media is simply not cool and not appropriate any more.

So, what does it mean for luxury brands, when lavish spending is no longer aspirational? What we’re imagining with this trend is that in the next five years we’re going to see a huge rise in purpose-driven products and services – for example, lab-grown diamonds, causedriven investing and equitable luxury travel. »

BUY UP A BUNDLE

Wardrobe NYC specialises in curated collections sold in sets of four or eight

A really interesting retail format we’re seeing emerging in the luxury and fashion industry is the idea of ‘bundle buys’. This is about removing excessive choice from the buying process, in favour of a more singular, serene kind of buying experience. Today, we’re so overwhelmed by choice – mostly because our digital lives have become so intense – that we’re making a huge number of micro decisions every day. And this is why simplicity is now emerging as a form of luxury.

Wardrobe NYC sells menswear and womenswear as separates or in curated sets that work together. A four-piece tailored set of blazer, shirt, T-shirt, leggings (sport and casual sets are also available) costs £1,250, and the eight-piece set twice that. Co-founder Christine Centenera says it’s their way of saying: “This season, this is what we think you should be wearing. Being authoritative is our way of providing a solution for people.”

Designers are also using this idea of bundling to cut waste. An interesting example is The Kit by Daniel Vosovic, which produces clothing kits to be ordered all together. Everything is produced only on demand so there’s no excessive production, less waste and less pollution – they see themselves as the first sustainable fast fashion brand. wardrobe.nyc; thekit.com

FORECAST CAR SHARING In order to provide levels of convenience beyond the standard forms of ownership, luxury car manufacturers are increasingly borrowing solutions from the share economy. One innovative example is Bentley on Demand, which is embellishing, rather than replacing, traditional ownership. It’s a free luxury concierge service, accessed through the Bentley App, which lets Bentley owners rent any car from the range – a Bentayga, say, for family adventures or a Mulsanne for luxurious weekends. The car is conveyed to you at your location, delivered by a concierge who can give you a tour of the car’s key features, adding to the core offer of car hire an element of product discovery.

Operating along similar lines is Book by Cadillac, a subscription service which you pay for monthly and enables Cadillac owners to change cars up to 18 times a year. This is an ingenious model, a great way of giving consumers a taste of the different products the company has in its range, without them having to commit to one.

I think a developed execution of this trend is a new business model being launched by Volvo this year – a completely new brand called Polestar, which will only be available on a subscription model. The first product will be launched in the middle of this year, available on a two- and three-year basis.

What’s really interesting about the Polestar brand is that it’s designed as a digital-first product. All of the interactions both with Polestar and with the car itself will happen via your mobile. So the traditional model of automotive retail where you go to a dealership? This is changing – and rejecting – that and looking firmly to the future. » bentleymotors.com; bookbycadillac.com; volvocars.com

Bentley on Board revolutionises the traditional ownership model

Top left and top right: Carling’s collaboration with digital influencer Perl.www

REALITY BITES We’re getting to a really interesting point where merged reality and augmented reality are becoming practical tools for retailers, rather than merely gimmicks. AR is becoming much more stable and refined, and many brands are already tapping into its potential.

One recent example was a collaboration between clothing retailer H&M and Moschino. They presented their joint collection in a meshed reality runway experience.

Guests were given headsets that overlaid an augmented reality layer on top of the physical situation. The room was actually empty – but guests could see all of the elements within, in vibrant detail, through augmented reality.

In the next few years, we’re also going to see the rise of digital-only clothing that exists as an augmented reality overlay. I know this sounds really futuristic, but it’s happening already. One brilliant example is a recent collaboration between retailer Carlings and a digital influencer called Perl.www – named after an 80s software program known for its quick-fix solutions to data problems.

Together, they created a collection of digital-only clothing, to be applied to your social media posts. The idea is that if you just want to be seen wearing something, you don’t have to actually physically own it.

Whether immaterial digital fashion will actually reshape how we dress in physical life, I’m not sure yet, but it will certainly revolutionise the way we portray ourselves across social and digital channels.

At present, consumers still believe that tangible products have more value than the digital ones. But as we buy more digital ephemera, they will become accustomed to ownership not necessarily being equated with tangibility, and the value of the digital will rise and become a key product in the next five years.

For more on future trends, visit thefuturelaboratory.com

Bespoke and ready-to-wear designs sustainably produced and ethically manufactured in London

a luxury collection for professional woman CHERIDA.co.uk

Classic / Urban / Chic

DESIGNS ON SUCCESS How hot design duo Ralph & Russo are leading the rise and rise of British couture Words: Rachel Ingram

L

ondon’s only couture house, Ralph & Russo, has been challenging the industry since its inception in 2007. In fact, in 2014, it became the first British brand in almost 100 years to be invited to the home of couture, Paris, to present its annual show alongside French couture houses at Paris Haute Couture Week. This privilege is closely guarded by Chambre Syndicale de la Haute Couture, a regulating commission that’s notoriously difficult to impress.

The creative mind behind the brand is Tamara Ralph, an Australian designer who made her first piece, a chainmail skirt, at the age of 13. “It’s something I’ve always loved to do,” Ralph says of designing. “I have several generations with couture and fashion in my family. I grew up around it and I loved it. Whenever I could, I would be sketching, stitching and draping, so it just came naturally.” The brand’s business head is fellow Aussie Michael Russo, chairman and CEO. Together, as partners in business and in life, the pair have created one of the most inspiring love stories the British fashion industry has seen, both on and off the runway.

Starting from humble origins with a single sewing machine, the duo, who met in London, now make bespoke gowns for a 1,000-strong client list of the world’s wealthiest and most influential women.

While the brand was already a hit with those in the know – Ralph has been making custom-made dresses for the likes of Beyoncé as far back as 2013, when the singer burst on to the stage of the opening of her Mrs Carter World Tour wearing a bespoke embellished crystal and pearl bodysuit – it was well and truly thrust the global spotlight in 2017 when Meghan Markle chose to wear a Ralph & Russo dress for her engagement portrait with Prince Harry.

The team’s reputation as leaders in the field is well deserved. When Ralph & Russo was invited to show its collections at Paris Haute Couture Week, Ralph became one of only three female creative directors worldwide permitted to present their collections during this period.

In 2013, exceptional annual growth of 400% saw the couple listed on Fortune magazine’s ‘40 under 40’, establishing Ralph & Russo as the first global fashion brand to have ever featured. More recently, they have expanded into ready-to-wear.

As the brand’s success continues to snowball, so does its need for space, and in May this year, Ralph & Russo will relocate its atelier and head office to the emerging creative hub of White City in west London. Ahead of the move, at the 2019 Walpole Luxury Summit, the duo discuss the evolution of haute couture – and why the future is bright for British designers. »

Michael Russo and Tamara Ralph are the creative visionaries behind Ralph & Russo

COUTURE

WE HAD TO SACRIFICE A LOT...

WE HAD LADIES COME TO US WHO WANTED TO SPEND £10,000 ON A DRESS AND WE HAD TO SAY NO - Michael Russo

Why did you choose to make London the base of Ralph & Russo, rather than Paris, the traditional home of couture?

don’t have to do it like that.” He couldn’t see the logic to some of the traditional ways of working, so we went in our own direction.

Michael Russo: It was a combination of things.

First, it wouldn’t really make sense. Secondly, the elite customer was visiting London. What we were finding, especially with couture which requires a lot of fittings, is that the customer felt more comfortable coming to us because they were using London as a base for other things, from holiday housing to education. The vibe here made them feel more comfortable in the whole entire process. That was really one of the keys.

MR: There are times when you’re told it’s wrong, you’re doing the wrong thing, why are you doing it this way?

You have to have the guts to follow your instinct and just do it. I think that’s what we did. We believed in keeping things simple and not complicating things. Of course, things changed along the way, as they do, but it was definitely about following our gut instinct.

What was the biggest challenge with setting up a couture business in London?

TR: I think about what the clients love and we understand what the woman wants, as well. Obviously, trends do matter to us. We understood where the market was going quite early on, where our client base was and what they needed, so we stayed true to that.

MR: I think we had some challenges along the way, especially on the craftsmanship side. Right from the beginning, it was challenging finding the right people with the right skillset to work with. It was very limited when we first set up the brand here. Now, that’s now completely changed and we’re inundated with people wanting to work with us, which is great. We’ve seen a return to the youth wanting to learn the craft, as opposed to just wanting to be the designer.

It also helped once we were officially credited by the Chambre Syndicale de la Haute Couture [allowing the brand to show its collections at Paris Couture Week].

Suddenly, we were this attraction for the rest of the craftsman in Europe, or internationally. We organically took a lot of the best craftsmen from Europe and other places around the world into London.

Being based in Britain, would you say you’re rule breakers?

MR: I think there are no rules. I think that’s the beauty and it’s one of the reasons we have experienced the success that we did. I think staying true to yourself being consistent is part of the success of building a luxury brand.

Tamara Ralph: A lot of that came from Michael at the start, because, obviously, I was coming from the industry, having studied fashion, and Michael was coming from a business industry. When we set up the brand, he questioned a lot, such as the ways of working and why I felt like we should do it a certain way. He said, “We don’t have to work like that and we

How closely do you follow fashion trends?

Tamara, you are essentially the perfect example of your clients. Do you think this is another element to your success?

TR: Yes, very much so. I think it’s important to understand your customer base, no matter what industry you’re in. At the start of the brand, we really wanted it to feel like a family, and all our customers to feel like a family. They responded to that. Customer service, at the end of the day, is free. It was one way where we were able to compete with the largest brands.

You started in couture and moved on to readyto-wear, which is quite an unusual journey. Why did you do it that way around?

MR: We use couture as the real heart of the brand. We use couture to create the aspiration. It really does fuel the rest of the business. It was difficult along the way because for seven or eight years, we had to sacrifice a lot of revenue and sales. We had ladies come to us who wanted to spend £10,000 on a dress and we had to say no. When you’re staring a business, it’s difficult to do that, but we sustained that and weathered the storm, and in the long run it was the much better thing to do.

It really created the aspiration and the desire we have now. These days, with the amount of enquiries we get from the couture show, we don’t even need a store.

For every 100 calls, we might hit one or two sales of couture. The other 99 or 98 will buy into the brand »

COUTURE

The annual couture show is so successful that the brand doesn’t need a physical store

COUTURE

I THINK A LOT OF PEOPLE ASSUMED THAT COUTURE WAS A DYING INDUSTRY, BUT WE SAW THE OPPOSITE - Tamara Ralph

with a shoe, a bag or ready-to-wear. We needed that time to really build the dream and build the awareness. Now it just monetises itself.

TR: It also gave us a good base of data. Before we launched wider product categories, we knew all about who our client was, what she wanted, where she was based, how she was shopping, what price point she was looking at, and so on. We collated all of that data before we launched ready-to-wear and shoes and were about to tailor our next product categories to this information.

What has been the major shift in the fashion world in the last two years?

TR: There are always things that surprise us. Markets are changing all the time, clients are changing all the time.

You have new regions that have come up as big spending clients. Even in the last two years we’ve seen a shift in who our couture buying client is.

How are you attracting these new customers and markets to couture?

MR: We make it accessible. It’s difficult to see a couture gown. If you want to see one, you have to book an appointment in Paris or Italy, and it’s difficult to get an appointment. It’s fine to see it in a couture show on a screen or in a magazine, but until you see it in person, it’s very different. You can only see the quality of the workmanship when you see the gowns in person.

Part of our retail strategy is to educate the customer.

Customers coming from Africa or South America, for instance, they can’t see couture easily, but as soon as you put it in front of them, it’s very difficult for them to walk next door to the shop and buy a piece of ready-to-wear.

Making it more accessible was really going against the grain, because no other house was doing it. Couture has always been this sacred piece of clothing that’s hidden away, and is very difficult to get, and we sort of spun it on its head.

TR: It’s a balance. Although we have made it more accessible, we will keep it very exclusive, as well. The clients are buying into it in the end, because of the fact that it’s a unique, exclusive experience. It is something that not everyone can have.

How do you retain your existing clients?

MR: This comes back to the experience, the way we treat them and the customer service. That sort of ‘non -arrogant’ luxury approach. These days there are so many brands, there is so much competition, so many voices. It’s all become a bit too commercial and the feeling of luxury can get lost. It goes back to the roots of luxury with a this real personal touch and one-on-one experience.

How important is the millennial market to you?

MR: The average Harrods customer is actually 20 years old, which I think is such a significant fact because we tend to think of couture as slightly an older woman’s thing.

It sounds a little fussy, if anything. Part of our strategy is to prove that that very much does not have to be the case.

TR: I think it’s always good to have youth in our designs.

When we started couture, we realised there was a shift in the market. I think a lot of people assumed that couture was a dying industry, but we saw the opposite. We saw emerging markets and younger generations coming through and spending much more, so we tailored our collections to that.

What’s the most important lesson that you’ve learned in the last 10 years?

TR: I think it goes back to the idea of ‘arrogant luxury’.

People never forget how you make them feel. Whether that’s through the product or how you treat them, or whatever touchpoint the brand has with a consumer. I think that’s a very important lesson I've learned.

MR: Brands should not forget the importance of making somebody feel good. Customer service is free. I know we are competitive with a marketing budget, but at the end of the day, we are to blame for the customer service. If we can be number one in customer service, the rest will follow. This is a big priority for us. ralphandrusso.com Tamara Ralph and Michael Russo were speaking at the 2019 Walpole Luxury Summit thewalpole.co.uk

A FAMILY AFFAIR In a world of mass consumerism, multi-generational artisans in Mayfair are keeping the crafts of their ancestors alive. Tempus speaks with the families running four of London’s most enduring businesses Words & Photography: Mark C O’Flaherty

M

ayfair in central London is home to every imaginable international luxury brand, but that’s not what gives it global cachet. Its real resonance is powerful but discreet. Away from the high gloss of the corporate-owned window displays, with all their conceptual gilded animatronics and operatic set designs, there is an older world of classic bespoke and other craft, much of it still in the hands of the families that founded their businesses one or two centuries ago. There are workshops and archives that have survived world wars and developed a gorgeous patina from the everyday craft that they facilitate.

To walk into the hallways of shelves decked with hundreds of individually carved wooden lasts at bespoke shoemaker John Lobb, or into the locked backroom of archives at tailors Henry Poole & Co, is like entering into an alchemist’s library. Everything here is created and repaired by hand, in an environment that is dramatically different from the meticulous shop floors nearby.

Craftsmen wield hammers and files, scissors, flames and steam, while drinking mugs of tea, their work stations decorated with family photographs and personal ephemera.

Everything designed, crafted and cared for by these businesses is down to the families that own them, and the loyal extended family of employees who often stay with them for decades, if not their whole lifetime.

These Mayfair businesses would change beyond recognition if they were bought and sold to investors, or had decisions manipulated by corps of shareholders. With things being tackled

by the third, fourth, fifth – or more – generation of a family, decisions are made with emotion as much as with an eye to business strategy. The authenticity that this creates is rare today. When you watch a shoemaker at John Lobb working on a pair of brogues on a bench, you could be in the 19th century – only the tattoos on the worker’s forearms, and their modern jeans, hint at anything contemporary. There is nothing high tech about this world, and when you’re immersed in it, whether as worker or customer, it’s evident how much love everyone has for it. These are the hothouse flowers of modern luxury, still in demand by a truly discerning international clientele and quintessentially British.

Many of the younger customers who patronise these family businesses – including members of the monarchy – visit them because their parents and grandparents were loyal customers. Just as there’s an expectation of one generation to take a business forward from the one before, so there is an expectation in certain quarters that if your father wore bespoke from a certain tailor, that’s the tailor you visit.

And a lot of what is made in these workshops and sold in these shops – from smoking jackets to top hats – are the best of the best but also classic. They resonate with London’s history.

That top hat at Lock & Co isn’t dissimilar from the one Oscar Wilde may have bought here.

The quality is the same. Which is the key to the success of these family businesses – they aren’t about expansion, shifting units and improving profit margins. They just want to do the one thing, and do it absolutely perfectly. »

Henry Poole & Co is currently managed by seventh-generation family members

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John Lobb Double Royal Warrant holder John Lobb has been hand-crafting made-to-measure shoes since 1849.

Tempus speaks with fifth generation family member Jonathan Lobb about maintaining the bespoke footwear company at the heart of the John Lobb brand

Tempus: What’s the current family dynamic at the company?

Jonathan Lobb: John Lobb has always been owned and run by the Lobb family. My brothers, William and Nicholas, and I have distinct managing roles and our father is chairman. William and I have worked for the firm for the last 25 years. Nicholas – the new kid on the block – was a practising solicitor before joining us four years ago. While I trained initially as a last (wooden shoe mold) maker, William was trained firstly as a clicker, dealing with all the leathers and materials, and subsequently, he also learnt the craft of last making.

What does being a family-run business bring to the company that you wouldn’t necessarily have otherwise?

I think it brings a certain degree of security. We’re not planning to leave, which is important, not only for the brand, but for our craftspeople and customers.

We’re looking at the longevity of the business – we take a long view as we want to protect and improve the brand for our customers, craftspeople and the next generation.

What do you think defines the aesthetic of John Lobb?

Above: Fifth-generation owner Jonathan Lobb oversees the companys traditional shoemaking methods

Our work is underpinned by a belief in the importance of making the best and most beautiful shoes and accessories we possibly can – and doing this in an authentic and sustainable way.

We achieve this by remaining true to the identity and principles of the original John Lobb and maintaining the best traditions of the craft, which is a culmination of skills and techniques handed down through generations of dedicated master shoemakers. I was trained by my father and he was trained by his father. I now train our last makers and like to serve customers personally when I can, and so John Lobb continues.

Was there ever a period when this business model looked perilous, or have you always had a buoyant clientele?

We’ve had to weather numerous recessions and the two World Wars. Inevitably these have an impact.

However we and our forebears all share, literally, the DNA of the original John Lobb. He started as a penniless farmer and only through sheer bloodyminded determination established our brand. We will inevitably face challenges in order to protect the company, which we will face as our ancestors did.

What do customers engage with when visiting the boutique?

Our customers are engaging with an authentic British brand, built by a man who was a truly exceptional individual. Customers can best experience John Lobb when they visit us in St James’s. Over time customers build up relationships with the fitters. Some craftsmen and women have worked here for more than 30 years, so customers can always rely on that continuity.

As a heritage British brand with a loyal clientele, how do appeal to a new audience?

New customers are increasingly looking for an authentic experience. Our customer experience is very real – clients deal directly with skilled craftsmen and women and enjoy that personal interaction and service. As part of this service, they not only see examples of the leather their shoes will be made of, they can choose the exact piece of leather they will be cut from, too. We offer a highly personalised authentic experience which is timeless and appreciated by all generations – something that’s becoming increasingly rare. Another unique factor is that members of our family are still active and serving customers directly around the world. » johnlobbltd.co.uk

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Lasts at John Lobb’s St James’s atelier

Lock & Co Hatters invented the bowler hat in 1850

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Lock & Co Hatters Roger Stephenson, deputy chairman, and Lizzie Stephenson, customer service – seventh- and eighth-generation family members, respectively – give Tempus an insight into running not only the oldest hat shop in the world, but one of the most enduring family businesses in England

Tempus: How does being a family-run firm define the culture of the company?

Roger Stephenson: I suppose there’s pride in the business. It’s something which we’ve grown up with – it’s almost in our DNA. As children we were brought to the shop, almost like a rite of passage, to understand the history of our family within the business. We are the second oldest family business in London now; we’re also one of the oldest family businesses in the country, so that’s something we take a lot of pride in. In this day and age, a lot of brands still play on their heritage, but they’re usually parent companies that own a lot of different brands, or an equity firm which basically just bought the name and then tried to brand it as heritage, whereas we’ve got lineage. The business has gone from generation to generation.

What’s your earliest memory of Lock & Co? Lizzie Stephenson: I remember coming in as a five-year-old child and they tried to put the conformateur on me, which is how they get head shapes. I didn’t want it to go anywhere near my head and everyone in the whole shop was trying to coax me into it – but I didn’t want to!

Do you feel a great level of responsibility to make the business a success because of its family heritage?

RS: There is a responsibility. You feel as if it’s your job to leave the business in good fettle for the next generation. Often the idea of a lot of businesses is to build them with a view to sell them, but that isn’t on the agenda here. When it’s the end of my tenure, I hope that I’ve passed the business on to the next generation in better shape than when I started.

Has there been much change in the running of the business over the last 20 years?

RS: Yes and no. In terms of change in the business, yes, substantially. When I first started 29 years ago, the mentality was, ‘We’ve always done it this way’, and the company was a little resistant to change.

When you walk in here, it doesn’t look like much has changed, but behind the scenes, it’s a different business now than it was 20 years ago. It’s a lot more progressive and we’re a lot more seasonally focused.

Now, we launch spring/summer and winter ranges each season, whereas before we only had our core range hats which just sold and sold.

What has evolved in regard to the production of the hats?

RS: In terms of the workshop and production, nothing. All of our hats are still very much traditionally made but a lot of the main manufacturing bases in England have gone, so where the product is sourced has changed. It’s still done in the same way, with steam and blocks and presses, and the tweed caps are still made in exactly the same way. I’m very proud that, in a massproduced world, we’re still using very traditional crafts to produce the hats.

In terms of materials and style, however, things have changed quite drastically – for instance, 20 years ago we never would’ve thought about selling a Lock baseball hat. We now offer a very wide range of styles. If you want a smoking cap, you can come to Lock’s. If you want a fez or a pith helmet, or even one of the modern Dover watch caps, you can come to Lock’s. We’ve been famous for innovation ever since we invented the bowler hat in 1850.

What are the biggest changes you’ve noticed in your customers?

RS: Demographic. If you looked at our customer 25 years ago, they’d probably be 50-plus and very traditional. Hats have become popular with the younger demographic so we’re getting a younger, more fashionable crowd in. Our average age group now is probably 30 to 50, which is a drastic change.

Why do you think this is?

LS: I think it’s probably the fact that more celebrities are seen in hats. Hats are not seen as a necessity, but something you wear if you want to look very smart.

It’s back to an accessory. I think the way men shop has changed as well. It used to be that women would look at women they admired and want to copy the style, but now, men are searching out street-style celebrities and seeing what they’re wearing, and that brings them into the shop because they want to replicate that kind of style. » lockhatters.co.uk

Below: Roger and Lizzie Stephenson

Henry Poole & Co Simon Cundey, seventh-generation family member and managing director of Henry Poole & Co – the first tailoring shop on Savile Row – invites Tempus to explore the historic boutique that has dominated London’s famous tailoring street since 1806

Tempus: How did Henry Poole & Co become the first tailors on Savile Row?

How does that differ from the other houses on the street?

Simon Cundey: The founders were wealthy enough to purchase a property in Old Burlington Street. The building was rather a sort of mundane Georgian style that went through on to Savile Row, which was just a parking area for your carriages to walk out on to Regent Street. But he enjoyed the quirkiness of the building, so he made that the entrance on to Savile Row – and that’s actually what made us the first tailors on this historic street.

When Henry started becoming famous for working with famous people, other tailors started moving into the street, and it grew and grew. By the 1890s, every royal family and every powerhouse in the world was coming to Henry Poole. We had military, livery and civil – three areas of tailoring.

It really was an institution house; it still is today in some respects.

There are other houses that do the same as us, but they have their look – say a softer shoulder or a military shoulder. We do a natural shoulder. We look at your body and if we feel your shoulder line needs building up, we will do so. If it’s a very square shoulder, we will leave you alone. It’s just to get you a natural balance.

With width of lapel, it’s about the size of the body.

If you have a 6ft 4in person, with broad shoulders, he’s going to need a good-sized lapel. If you’re looking at a smaller gentleman, you don’t want to give him a four-inch lapel.

Fashion can be that way: in the 70s, it was all about 5in lapels; in the 60s, it was 2.5in lapels. The rotation is always there, but it’s just a question of pinpointing it, where you want to be. We move in terms of fashion, but in much smaller circles. And that’s what makes the line so defined.

How did the Poole and Cundey families first come together?

Henry Poole sadly passed away with no children so his cousin, Samuel Cundey, the accountant of the firm, ran it for a short time. Cundey’s son Howard joined the business and became another famous character in the celebrity tailoring world – we went from 20-odd warrants with Henry to another 22 warrants with Howard Cundey. That was another generational powerhouse that steered us through into not only having Savile Row, but shops in Berlin and Paris, too.

Then, it went on his sons Samuel and Hugh. After that came Angus, my father. And then of course I came along, and I have two sons, Henry and Jamie – named after James Poole and Henry Poole.

Hopefully both of them will make their way into the firm as well.

What do you think defines the aesthetic of the house today?

I think the quality. We’re still very much synonymous with timelessness, whether it’s the shape of the garment or how we work with the customer.

Fashion moves and goes around in circles, and while we don’t ignore it, we’re not dictated by it.

How many your customers are coming to you because their fathers and grandfathers did?

I would say around 15% come to us today on that basis. Some of our multi-generational customers are now fourth- or fifth-generation UK customers.

What do you think being a family business adds to the dynamic of the business?

Being a family business, you know the customers more – when someone comes in, we recognise their name or my grandfather remembers that person – and, moreover, you know your staff more. You represent the firm; it’s your face to the name, but there’s a team effort.

I also think that adaptability, in good times and bad times, is where a family business can really change rapidly, while with companies with shareholders sometimes it takes something dramatic to make them change. And sometimes they don’t always give back. A firm like Poole has survived by giving to the next generation through apprenticeships and teaching people, which is all part of the establishment. » henrypoole.com

Below: Simon Cundey

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Henry Poole & Co was the first tailor on Savile Row

Boodles has grown from county jeweller to high jewellery leader

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Boodles

Below: James Amos

Tempus speaks to James Amos, marketing director and sixth-generation family member about running England’s most historic fine diamond jewellery retailer

Tempus: Talk us through the family tree, to where we are now with you…

James Amos: The business started in 1798. Our family got involved in the mid- to late-19th century.

The original founder was William Wainwright and his son was Henry Wainwright. His sons were Harold and Herbert Wainwright and Herbert’s son was Captain Antony Wainwright, my grandfather, who took over in 1945 when his father and his grandfather died within two weeks of each other. His two sons, Nicholas and Michael, now run the business as chairman and MD – their sister is my mum. Jody Wainwright, my cousin, is the commercial director and I’m the marketing director.

Was it expected for you to join the business?

No, not necessarily. My mother is not connected to the business, so I suppose I was lucky to get the nod and get the call up, and I had to earn my stripes on the back of that.

How does being a family-run business benefit the company?

When competing with other Bond Street brands, we’re not a faceless brand. There are lots of wonderful jewellery brands who have other things we don’t, but we’ve got real people and I think that’s very important when dealing with our customers. We also have a very real relationship with them – it’s not a transactional business. It tends to be relationships formed over a long period of time. The family is very involved, almost to a fault. We do between 150 and 200 events a year and there’s usually a family member at every event.

How has the product changed since the company was established?

Between 1798 and 1990, we were effectively a county jeweller. If you looked in one of our shop windows, you would’ve seen lots of lovely silver, candlestick holders, carriage clocks, grandfather clocks, watches and jewellery… none of which we designed ourselves.

In 1990, we took on a designer, Rebecca Hawkins, who’s still with us today. She started by designing one jewellery collection, called Hug, and it went well,

so we started designing more collections. Between 1990 and where we are now, it has effectively been a renaissance – we have the same core values as a company but we’ve changed immeasurably in terms of our offerings.

What inspires the designs of Boodles’ fine jewellery collections?

There will often be an organic feel to it, such as a floral theme, or we do quite a lot linked to water.

Two years ago, we did a collection called the Poetry of Landscape, inspired by key places around the UK, such as the South Downs, Jurassic Coast, Cornwall and the Yorkshire moors. Two years before that, we linked in with the Royal Ballet for their first-ever jewellery collaboration. We produced some exquisite jewellery, on the basis of Rebecca spending a couple months in rehearsals, time with dancers, ballerinas and the archives.

In two month’s time, we’re launching Always a Story, which is part of our Wonderland high jewellery collection. It’s made up of 25 individual pieces of jewellery, each one of which tells a separate story.

When we do high jewellery, the designers love it because they get the chance to do something amazing. We give them carte blanche to go away and design amazing jewellery.

You’re also known for buying important or unusual diamonds.

That’s one other area which has become important for us. In fact, I got an email from my uncle and my cousin an hour ago – they’re in Antwerp and they just bought two lovely pink diamonds. They promised not to spend too much, but that’s what they’re doing today. My cousin in particular, has spent a lot of his working life sourcing interesting stones from around the world. We’re linking up with the Cullinan mine in South Africa this year to get some of their more interesting diamonds – many of the world’s blues come out of there. Sometimes we’re buying to order.

Other times we’re buying to then present to the designers and say, “What can we do with this that’s interesting?” We always try to add design to the diamond offering. boodles.com

IN HIS OWN TIME Tempus gets personal with ‘punk of the watch world’ George Bamford Words: Rachel Ingram

T

here’s a special kind of energy about George Bamford. When we meet at The Hive, Bamford Watch Department’s invitation-only lounge at an unmarked address in Mayfair, he bursts through the door in a flurry of energy that fails to slacken during our hour together. He’s dressed in a deep blue and black suit and, as we chat, he fingers a ribbon that he draws from his pocket during moments of concentration. “I’m sure you’ve noticed how I’m always touching things”, he says. “My sensory senses are incredibly heightened.”

The Hive is more of a living room than a sales suite, with comfy leather sofas, a fireplace and dark wood bookcases filled with books, trinkets and memorabilia – a Zenith racing helmet, a model classic car, Cuban cigars, a Mickey Mouse statue, family photographs and a toy JCB truck (a tribute to the company that first brought the Bamford family into wealth).

Bamford’s journey into watchmaking could have been predicted early on. As a child growing up in an engineering family, he developed a fascination with taking things apart and “fixing” them. “To the downfall of my parents’ house, I used to go down at five in the morning and strip the TV and rebuild it,” he says. “Or I’d take the juicer to bits and rebuild it to make it faster.

At the age of eight, I learned how to weld and build an engine.”

His parents saved their house by giving him a 1955 Breitling Navitimer when he was 16 – “It kept me occupied all that Christmas”– which, with no formal watchmaking skills, he’d take apart again and again, to the dismay of the

Breitling workshop. Fast-forward a few years and, now an adult, Bamford was up to his old tricks.

“At the time, it was all about bling and how many diamonds you could fit on a watch. So I thought, let’s pare it back. What’s the opposite of bling?

Black,” he says. “I took a TAG Heuer Monaco and coloured the dial red with black accents using a black used by our R&D department for drills.”

People started to notice his customised timepieces and asked him to do the same for them – and the business was born. But watch customisation wasn’t without its challenges and some brands were at first resistant to his unconventional designs. Now, he collaborates with brands including TAG Heuer, Zenith and Bulgari, for whom he creates customised or limited-edition designs.

“Someone said that I was the punk of the watch world,” says Bamford. “I always describe it as I was in the shade, and now I’m in the sun – and, God, it’s cool.”

One of his most noted timepieces is the TAG Heuer Monaco Heritage, a striking black and aqua blue, carbon fibre, square-cased watch, based on the iconic racing accessory worn by Steve McQueen. Bamford was essentially given free rein to adapt this watch as he wished. He says it’s one of the most special designs he’s worked on so far: “When they showed me it at Baselworld this year, I fell over. I could not believe that they’d created it. It blew me away.”

For Bamford, it’s all about taking a piece from your favourite brand and making it your own.

“The nutty side of me is all about personalisation. I work with customers who want to be individuals,”

he says. “Personalisation and the future go hand in hand. You look at any luxury brand now… if they don’t offer personalisation, they’re not luxury.

From Hermès and Louis Vuitton to Bentley and Rolls-Royce to Louboutin and Tom Ford, every brand will have personalisation, to a degree.”

Another mission of Bamford’s is to show that you don’t have to be a millionaire to buy a customised watch. Bespoke used to be a proposition that eluded most, but he’s making the personalisation more accessible, while still being exclusive. The Hive is a perfect example of this.

“Most hotels are more luxurious than a boutique.

It’s why I’ve created this space to be so personal and welcoming. I want it to feel comfortable here – I don’t want you to feel sold to,” he says.

Bamford points out a screen above the fireplace which displays the customisation process of Bamford watches – it’s here that customers sit with a graphics designer to create their dream timepiece in real time, adjusting elements such as coating, dial, batons, hands, logo and so on, all with the click of a mouse.

Whether in person or online, customers can also discover Bamford’s house-designed watches and accessories, which fall under the Bamford London brand, and include customisable watches at a lower price point – ideal for young collectors – including The Bamford Mayfair, Mayfair Date and the GMT (pictured below).

As for how to get an invitation to The Hive… well, that’s our little secret. bamfordwatchdepartment.com bamfordlondon.com

WATCHES

George Bamford – renegade of watchmaking

FAMOUS FACES As Omega’s new Constellation Manhattan collection lights up women’s watchmaking, ambassadors Nicole Kidman and Cindy Crawford shed light on the power of timekeeping Words: Rachel Ingram

R

eviving an icon is a complicated challenge for a watchmaker. “If it aint broke, don’t fix it,” some critics will say, while others call for modernisation.

Tasked with bringing Omega’s most iconic women’s watch back to life, watchmakers worked to ensure the collection retained the originality of its three previous reincarnations – launched in 1952, rebranding as the Constellation Manhattan in 1982, with another revamp in 1995 – while reflecting the modern, refined tastes of the Noughties.

Bursting into the spotlight once again, the collection, which will be available in the UK from June, is made up of 101 models in three case-sizes with seven dial options, five metal combinations and various degrees of diamonds and precious stones. Designers have revived original elements including Roman numerals on the bezels, which have been made even more slender, and decorative ‘claws’, scaled down to enhance their femininity. Fresh design elements have also been added. Bevelled edges reflect light off the case and bracelet links, while new, triangular indexes give a nod to Manhattan’s Freedom Tower. Perhaps the most innovative addition is the self-adjustable extender, which enables wearers to easily expand or retract the strap by 2mm – perfect for a warm summer’s day.

The north star of the collection is the ruby jewellery watch. It’s this sparkling ruby and opal piece that Cindy Crawford and Nicole Kidman – Omega brand ambassadors along with Chinese actress Liu Shishi and Brazilian supermodel Alessandra Ambrosio – wore to the global launch in Shanghai, where Tempus was invited to speak with the superstar model and the Hollywood actress.

From their first watches – Crawford’s Swatch Jelly watch was “so cool and it went with my Guess jeans” – to why they wear them – to Kidman, a watch is a tool of female empowerment – we delve into the power of timekeeping. »

WATCHES

Ones to watch: Omega ambassadors Liu Shishi, Alessandra Ambrosio, Cindy Crawford and Nicole Kidman in Shanghai

KNOWING THE TIME IS SO IMPORTANT BECAUSE WHEN YOU CONTROL YOUR OWN TIME, YOU’RE CONTROLLING YOUR OWN DESTINY - Nicole Kidman Tempus: How have you noticed the women’s luxury watch market change since you started working with Omega?

– sometimes I like to wear a Seamaster or a chunkier watch – the thing about the Constellation is it’s really timeless and it’s very feminine.

Cindy Crawford: We all know that no one needs to wear a watch anymore. A watch used to be essential, especially if you were in Manhattan and you had a meeting, you had to look at your watch. Back then, you had a gigantic cell phone that looked like a brick. But now, no one needs a watch, so your watch is for your style, it’s an accessory. A watch is part of your personal fashion, it’s an expression of who you are.

The collection revives the iconic 1982 Manhattan. What do you think it means to be an icon?

Nicole Kidman: When you look at the history of watches, for a long time, women weren’t allowed to wear watches because they weren’t allowed to know the time. Knowing the time is so important because when you control your own time, you’re controlling your own destiny.

Why do you think they’re still relevant considering the development of technology?

NK: I like a watch because it separates me from my phone. I don’t want to use my phone as my watch because then I’m distracted by emails or texts – my phone is work for me. If I have a watch, it keeps everything very separate and then I don’t have to carry my phone everywhere. I really try to have boundaries because I’ve found that when I do have my phone on me, I’m working 24/7, which is not good for me.

What’s so special about Constellation collection?

Omega’s

new

NK: I’ve known Omega a long time and they’re a brand that cares about quality and advancing their products.

We clearly see this in the Constellation. These watches are made especially for women and they have been able to adapt and change in the most subtle and elegant way.

CC: I’ve now seen this collection evolve over the past several decades and I’m always impressed by Omega’s new designs. It’s such a classic watch, yet these new models prove just how relevant it remains today. The Constellation is the one that’s the most like a bracelet or a piece of jewellery. You can layer it, you can wear it with other things, it’s very feminine, you can go from day to night. Even though I have other Omega watches

CC: Oh my gosh. I think it can mean different things.

I think it’s more than just having achieved the level of the best in your field because not everyone who is the best in their field is an icon. And then there are also people who are icons that maybe weren’t the best, but, for whatever reason, there’s something about them that is iconic. But I guess it’s like this little spark of something that we’re all interested in and we want to know more about.

Which watches do you find yourself wearing the most often?

NK: I wear the Constellation most of the time because it can be worn in the daytime, but it also can be an evening watch. It’s very streamlined, it’s very chic and people always comment on it when I wear it. But when I’m going to the Oscars, the Golden Globes or a big red carpet, I’ll wear the vintage watches because they have all these exquisite little diamonds, they’ve been hand crafted and they have history. I think it’s really lovely to wear something that’s vintage.

CC: I think the Constellation is kind of like the ‘Cindy watch’, so I always come back to that. I’m lucky because I’ve been with Omega for over 20 years, I have accumulated a nice watch wardrobe.

Cindy, you’re the longest-standing Omega ambassador in history. What does this accolade mean to you?

CC: Thank you for not saying oldest! You know what, it’s been such an honour, I joke that I’ve been married to Omega longer than I’ve been married to my husband [businessman Rande Gerber] and we’ve never had a fight. I think in the fashion industry, sometimes there’s a shelf life and I love that Omega has embraced me becoming a woman and not made it so focused on, ‘Okay, she’s a young, hot model’. I also love how philanthropic they have been and the different charity work that I’ve done with Omega, specifically with »

WATCHES

Nicole Kidman’s favourite watch is the Constellation (left)

WATCHES

Left to right: Alessandra Ambrosio, Nicole Kidman and Cindy Crawford model the new Omega Constellation

Orbis most recently and the Flying Eye Hospital and being able to take my daughter to see it, first hand.

Nicole, why is Omega so special to you?

NK: I’ve been with the brand for a long time, I remember when I shot my first campaign for them and I thought: ‘Oh, my gosh, these watches are exquisite.’ I am just very honoured to be working with a brand that has such authenticity. The pursuit of excellence is what they want, they want to give something to the world that is consistent and reliable. They’re also deeply philanthropic and they’re good people. I’ve had so many memories with them, like tonight, when they do the events, they’re just magical.

Beyond timekeeping, how do you think the luxury industry has evolved in recent?

CC: Now, streetwear is luxury, I think that’s the biggest change that I’ve seen. The luxury brands really haven’t changed that much – I see who Kaia [Gerber, Crawford’s supermodel daughter] is working for and they’re the same brands that I worked for 25 years ago – but this whole new streetwear scene and how the luxury brands have had to embrace streetwear, that’s been pretty interesting to watch.

Has the world of modelling also changed?

CC: Modelling hasn’t really changed that much, but the actual act of modelling has. Take social media, having that is part of your job now. Sometimes I feel like the photo shoot is an excuse for a ‘behind-the-scenes’, especially for magazines as by the time it comes out, people have already seen a lot of the behind-the-scenes imagery, so the still images are so perfect but they’re almost irrelevant. It’s like people want to feel like they’re there more than they want to see the finished product.

It’s interesting.

What does luxury mean to you in the modern world?

NK: I like being able to go away on holiday to somewhere amazing with my family, that’s the ultimate luxury for me. And good food, I love to have really, really good food and then go somewhere. A great ocean is always incredibly luxurious, to swim in a beautiful ocean and then get out and eat some really good food is my idea of total relaxation. omegawatches.com

THE NEW DRESS CODE Fashion designer Cherida Patterson is on a one-woman mission to reinvent corporate-wear for 21st-century women Words: Michelle Johnson

STYLE

I NOTICED THAT THERE WAS A DEMAND IN THE MARKET FOR DESIGNER CLOTHING THAT BRIDGED THE GAP BETWEEN DAYTIME IN THE OFFICE AND EVENING EVENTS - Cherida Patterson

W

hether your business buzzwords surround digital disruption or sustainable practices, there’s no denying that today’s corporate world is experiencing rapid change in all areas. Nowhere is this more evident than with the latest trends in professional attire, where the rigid rules of yesteryear have been replaced by far more exciting – and colourful – examples of high-end suits or smart-casual mixes.

But while men’s corporate fashion has seen excitement in everything from new ranges of materials and colourways to form-fitting tailoring (goodbye oversized suit jackets), women in leadership roles are still fashioning something of a uniform that, in some areas, never quite broke out of the 1980s. The question, then, is how can women wear their experience, energy and business acumen on their sleeve without compromising their personality and style – particularly when one’s biggest deal could just as easily be sealed at a post-work event as in the boardroom?

This is the thought process behind one of London’s most exciting professional womenswear launches, CHERIDA, which has given itself the task of creating a corporatewear wardrobe that works just as hard as the women who wear it. And the key, says founder and designer Cherida Patterson, is all in the tailoring.

“We’re in a moment where there is a massive, conscious shift in how women are being perceived in the business world, and how we present ourselves is part of that,” Patterson says. “I noticed that there was a demand in the market for designer clothing that bridges the gap between daytime in the office and evening events. I want to cater to busy professionals and empower them through clothing.”

Tempus sat down with Patterson ahead of the launch of her core collection in London’s Mayfair, where she showcased the brand’s fashion-forward and exquisitely tailored pieces to female executives and CEOs from the worlds of watchmaking, architecture, interior design, art and finance. The diverse mix of women was a perfect template for the brand’s ethos, which is unapologetically cosmopolitan in its influences.

“I was living in New York and then Dubai before coming back to London,” Patterson says. “In each of these cities, I spoke to many women working in high-powered corporate jobs. These women wanted to look and feel good at work, yes, but they also wanted to feel just as great in the evening when they were heading to an event or work dinner. That’s where CHERIDA steps in. My idea was to provide women with clothing that takes you from day to evening, and is

beautifully made, elegant and classic, while mantaining a sexy, powerful attitude.”

This ethos is embodied by the defiantly monochrome core collection, which features masculine shirts, futuristic waistcoats, skirts that fit in all the right places and trouser suits tailored to the female form.

“My collection is conservative and classy, but it also has a bit of an edge,” Patterson explains. “The pieces would suit the style of any woman, from rock to royalty. I’d love to dress Meghan Markle; she is an absolute goddess. I’d also love to create something for Kate Moss, who has a very alternative, cool style.”

One of the most important stages in the brand’s development was Patterson’s decision to offer a demibespoke service that is designed to cater to her clients’ schedules. “The more I spoke to my clientele, the more I realised that women in high-powered corporate roles are seriously busy,” she says. “They don’t necessarily have time to shop and then go away and arrange tailoring. So my team is available to visit our clients at their offices, homes – wherever is convenient – and then they can try on a couple of sizes and if we need to tweak anything to make the fit absolutely perfect, we can. We can also accommodate fully bespoke outfits.”

Patterson says the difference that great tailoring makes to an outfit cannot be understated. “When something fits you perfectly, it’s like a second skin and you stand differently.

You can be completely confident that your clothes are representing you in the very best way, which means you can concentrate on being at the top of your game. That’s why tailors like those on Savile Row are world-class – when you’ve got great tailoring it makes all the difference.”

The next mission for this cosmopolitan designer is to move towards an entirely sustainable business model.

“Sustainability is incredibly important to me and I make sure I’m aware of the impact of everything from the material we source to our production line,” she says.

“I’m determined to keep improving as we develop, too.

We currently source our materials from England – the wool is from Huddersfield and the silk from Manchester – so it’s all very northern at the moment.

“I’m really proud of CHERIDA’s origins as a British brand with an international outlook and, in the future, a determination to develop internationally and keep empowering women at every stage.” cherida.co.uk

Below: Designer Cherida Patterson

STYLE The CHERIDA Core Collection embraces masculine tailoring while remaining feminine

SKIN DEEP Beauty industry icon Sue Y Nabi sheds light on the changing science of clean skincare and celebrating ‘makeup from within’

T

he best skincare products of the future are all about two things – prebiotics and glow.

I have been obsessed with the science of skincare ever since I was young. My business background has always been informed by the idea of biotechnology and, even as a teenager, I had a vision of combining scientific research with a holistic business approach.

In 2005, at 37, I became L’Oréal’s youngest CEO and spent four years reinventing the brand, hiring ambassadors of different ages and ethnicities and changing the ethos of this huge, amazing brand from ‘I’m worth it’ to ‘We’re worth it’. In 2009, I moved to Lancôme and performed the same spirit of work there, making sure our ambassadors represented the modernity of the day while creating standout products such as the Génifique Youth Activating Serum.

During this time I travelled around the world and heard from customers – women and men – who were becoming defiant towards the traditional beauty and skincare industries and looking for alternatives that were more efficient, gentle and ethical. It was this that inspired me to create Orveda with my business partner Nicolas Vu in 2013. Based on new research, we discovered a new way of thinking about our skin.

Skincare shouldn’t be about adding chemicals that disturb our biology in the long term, but instead should be about helping our skin improve on how it does its natural job. This is what we call the ‘science of glow’.

I’m inspired by Ayurvedic medicine and the science of selfhealing. Our skin needs to be healthy inside and out in order to repair surface problems such as aging, inflammation, dark spots or pigmentation. Rather than looking at anti-aging products that shock the skin to get short-term results, we want to go deeper and look at how you achieve a healthy glow.

While we already knew that factors such as hydration and nutrition affect our skin, scientists have discovered that our skin has

a barrier of natural, healthy bacteria – just like our gut does – which is a huge factor in skin health. I think of it as an external immune system.

These tiny molecules protect your skin from inflammation, pollution and pigmentation, and reflect the light, which creates a healthy glow.

It’s a huge discovery and one that will have an enormous impact on the beauty industry. The importance of moisturiser and hyaluronic acid is well known, but now it’s clear that if you don’t have prebiotics in your skincare, something crucial is missing. The number one thing that your skincare should do is strengthen your skin barriers.

At Orveda, we call our skincare ‘makeup from within’. We’re the first brand that has really taken it to this level – our formulation is highly concentrated and, I believe, the cleanest on the market. We don’t use preservatives like parabens, phenoxyethanol or alcohol that kills the healthy bacteria. We don’t use artificial colourings or mineral oils that can disturb the ecosystem of the skin. This type of skincare is less about glamour and more about efficacy and health of your skin.

We also take a genderless approach to skincare.

Men and women are looking for the same thing.

It’s not about the heavy, golden jars, it’s about what’s inside the bottle. All of our skin battles the same elements, such as pollution, stress, harsh lighting, UV and blue light from our phones and computers. Men and women both want to look healthy, well-rested and refreshed. It’s completely universal, and a very exciting topic of the moment.

An efficient formula will work on male or female skin and, in my experience, the only point of difference is that men will always look for lighter, water or jelly textures, while women traditionally opt for richer, creamier textures.

Ultimately, skincare is about much more than just the product you use. We’re inspired to create a holistic approach that fits the needs of modern life. And as part of this we’ve also removed any kind of animal extract – beeswax, caviar, milks – from the product, and only use glass packaging, because we want to ensure our environmental responsibility is making just as big an impact as the science behind our product. orveda.com

BEAUTY Orveda looks at skincare from the inside out

Uncommon scents Perfume industry innovators are seeking to set themselves apart in a market where individuality and exclusivity are the ultimate markers of luxury Words: Farzana Ali

British brand Parterre is leading the new wave of luxury perfume labels with innovation at their heart

I

t’s linked to our emotions and can instantly evoke strong memories. Smell is one of our strongest senses – even the faintest lingering trace of a perfume you’ve loved before, or that’s been worn by someone you know, can instantly transport you back to a long-forgotten moment.

But, in a world where we are increasingly choosing individuality over the status quo, are we happy to settle for mass-produced scent?

It seems not. The consumer’s desire for differentiation is pushing perfume houses to offer bespoke creations. The result? The use of hard-to-procure ingredients, small-batch blends, handmade vials and limited-edition scents that are starting to dominate the luxury market.

So why be like everyone else when you can smell like a star, or have a scent so bespoke that it works uniquely with your own body chemistry…»

Left to right: Nasomatto Nudiflorum; musk resin; ambrette seeds

BESPOKE BUYS Merging millennial culture, which embraces individuality, while taking personalisation to new heights, is the next key trend. Just as you’d go to the tailor to have a bespoke suit or dress made, a new wave of fragrances works to do the same, fitting you perfectly by enhancing your own unique scent.

Named fragrance of the year 2018 by the Fragrance Foundation, You by Glossier (£45 for 50ml) is a scent that considers the wearer to be the first ingredient. This scent, or “skin smell enhancer” as they call it, contains three base notes – ambrette, ambrox and musk – and it’s designed to melt in with your skin to leave you smelling like a clean, fresh version of yourself.

Nasomatto’s Nudiflorum (£105 for 30ml) is also designed to enhance your own smell. Perfumer and Nasomatto founder Alessandro ‘The Nose’ Gualtieri famously refuses to disclose the notes in his creations and shuns mass production – he produces his tuberose-esque scent by hand in small batches at a lab in Amsterdam.

Meanwhile, even industry heavyweight Gucci is encouraging users to customise their scent.

New apothecary-style fragrance collection The Alchemist’s Garden features seven perfumes (£240 for 100ml), three scented waters (£180 for 150ml) and four perfumed oils (£295 for 20ml), to mix and match in 48 different combinations. “Each oil or floral water of the collection can be layered with each eau de parfum. Just play with the scent to find your favourite,” says perfumer Alberto Morillas. glossier.com; nasomatto.com; gucci.com

BEAUTY

THE STORY BEHIND A PERFUME IS BECOMING INCREASINGLY IMPORTANT – CONSUMERS WANT TO KNOW WHO IS BEHIND THE BRAND AND WHAT THEY STAND FOR

LIKE A FINE WINE Leading the way in the new sensorial landscape is Parterre (three EDPs, from £95 for 50ml). The brand’s approach to perfume is much like a French wine house’s approach to vintage champagne – with exclusivity and exquisite ingredients at the core. And just like a fine wine, once a particular yield has been sold, then that’s it – it’s gone.

“The number of bottles in each batch is determined by the amount of essential oil we manage to distil from the relevant plants,” says Julia Bridger, Parterre co-founder. “For instance, we created 350 bottles for Extract 1 of Root of all Goodness, but for A Tribute to Edith Extract 1, we were able to create 925 bottles.”

Just as a premium wine brand has its own vineyard, all the key ingredients for Parterre are grown, harvested, and distilled at the brand’s own private estate in Dorset, Keyneston Mill.

“In our experience, the story behind a perfume is becoming increasingly important and consumers really want to know who is behind the brand and what they stand for,” says Bridger. “There’s a growing market for smaller brands that are able to be more experimental and adventurous and that’s what we try to do – explore new ingredients not usually used in fine fragrance.

“We also wanted to experiment with plants normally grown in other parts of the world to see if we could produce quality oils from them here in the UK,” adds David Bridger, fellow Parterre cofounder. “Vetiver, for instance, normally grown in Java and Haiti, has been a great success for us.” » parterrefragrances.com

THE PERFUME RULES •

Above, left to right: Parterre Run of the River; tonka bean tincture

• •

Embrace the dark. Yes, the bottle might look beautiful on your dresser, but light and heat can ruin the molecules in your fragrance so always store your scent in a cool, dark place and ideally in the box it came in Buy the smallest bottle you can. Exposure to oxygen ages your fragrance, so it’s best to buy small and use quickly Mist, don’t rub. The friction from rubbing can damage the scent of the top and middle notes

STAR GAZING While some perfume houses are turning inward to use your body as their inspiration, others are looking further afield in their hunt for exclusivity – and challenging the very idea of what a fine fragrance should be by doing so.

Luxury British house Thameen is one of these. Perfumer Basel Bin Jabr believes that, “the sophisticated consumer wants to say something with their scent.” His new Patiala eau de parfum (£145 for 50ml) is an intoxicating mix of wild rose, orange flower, moss, amber and musk. His inspiration? “The Patiala necklace worn by the Maharajah of Patiala,” says Bin Jabr. “We researched the legendary stories of jewels throughout history and these inspired

the creation of each perfume.” The cosmos is another source of inspiration. Istanbul-based brand Nishane looks to the skies to appease our olfactory senses. Its fragrance, B-612 (£165 for 50ml), uses notes of cypress, patchouli and tonka bean to evoke the imagined scent of its namesake asteroid.

Meanwhile, Madrid-based Oliver & Co’s Veil (£60 for 50ml), is the imagined smell of the dazzling debris of a massive exploded star, mixing familiar scents including ginger and geranium with ozonic aldehydes and mineral notes to represent the neon filaments that illuminate the darkness of space. thameenfragrance.com; nishane.com.tr; oliverandcoperfumes.com

Above: The View Nebula. Below: Thameen Patiala

BEAUTY

WASTE NOT, WANT NOT Sustainability and waste reduction are hot topics, and it seems the fragrance industry doesn’t want to be left behind when it comes to being environmentally aware.

Floral Street, with fragrances such as London Poppy and Chypre Sublime (£58 for 50ml), has ditched plastic in its packaging entirely. “We made it our mission to create a totally new way to house your perfume, a way to deliver it to you without using the same amount of energy or incurring the same amount of waste,” says the British brand.

“We’re proud we can offer a totally recyclable and biodegradable box – a first for the world of fragrance.”

Etat Libre d’Orange’s latest release, I Am Trash/ Les Fleurs du Déchet ( from £77 for 50ml) takes things even further. The first luxury perfume made purely from botanical waste throws out the concept of fine fragrances being sourced exclusively from premium ingredients.

Founder Etienne de Swardt admits to wanting to “explore the riskier side of perfume”, while querying how the industry’s excessive waste can be repurposed. “Garbage trucks hold flowers that can still bleed, peels and rinds that can still give,” he says.

But fear not; while the ingredients are made from ‘trash’, you can expect notes of apple, citrus, rose and strawberries in this fresh, clean scent. floralstreet.com; etatlibredorange.com

Etat Libre d’Orange’s I Am Trash scent repurposes rubbish into something beautiful

GROOM FOR IMPROVEMENT Take your personal styling to the next level with these luxury treats and treatments Words: Lee Kynaston

M

ale grooming has come a long way since the days when all it meant was a bar of soap, a flannel and a disposable razor. Today the UK market for maleoriented lotions, potions and treatments is worth a handsome £850m. Sales of luxury skincare and high-end boutique fragrances are booming, so much so that, according to a 2017 survey conducted by Barclaycard, British men spend more money each month than women on looking – and smelling – good. Men have, it seems, finally embraced the idea that they’re ‘worth it’.

Chances are, you’re one of them. So here are the trends and treatments worth splashing out on for a better-looking, better-feeling you… »

Showcase your individuality with a customised scent from Floris

SCENTS AND SENSIBILITY In an age of individualism – where quirkiness and exclusivity are key considerations – it’s to Britain’s boutique fragrance houses that style-savvy men are turning for something truly distinctive.

Whether it’s Clive Christian’s deliciously spicy Cypress; Penhaligon’s beautifully bottled The Tragedy Of Lord George or Beaufort London’s 1805 Tonnerre – which takes its inspiration from the Battle Of Trafalgar; think gunpowder, smoke, brandy and sea spray – artisanal scents, produced in smaller batches, are where it’s at right now.

Of course, real luxury lies in bespoke perfumery, where a scent is created just for you. Acclaimed perfumer Roja Dove and fragrance designer Azzi Glasser both offer such services – expect to pay up to £25,000 for something unique.

Less stratospheric, but no less special, is Floris’s customisation service. For £450 you sit down with the in-house perfumer to construct a signature blend. What’s more, your unique formula (mine is called Northern Fire) remains on Floris’s famous ledgers for ever – alongside those of Sir Winston Churchill, David Bowie and Benedict Cumberbatch. So you, or future generations of your family, can go back and order a bottle whenever you like. How’s that for a fragrance with staying power? florislondon.com

GROOMING

GENTLEMAN’S RELISH In the course of my career as a grooming editor, I’ve had hundreds of beauty treatments (hey, someone’s got to do it) and, in my book, there are only two really worth having – manicures and pedicures. The first because a man is judged by the state of his nails as surely as by the state of his shoes; and the second because a man’s feet are probably the most neglected part of his body.

Thankfully, men are finally wising up to this fact, as evidenced by the launch earlier this year of the UK’s first gentleman’s pedicure room, Aldwyn & Sons.

Set up by Old Etonian and ex-futures trader Aldwyn Boscawen at the back of Sharps Barber & Co in Fitzrovia, it’s a plush, book-lined enclave where you can have your nails trimmed and your feet filed, exfoliated and moisturised in comfort – a far cry from brash, bustling unisex salons. Try The Quick March for £40 or The Modern Footman, including a foot massage, for £10 more.

There’s a manicure service, too. To indulge in both, a package niftily titled The Gentleman and Scholar, costs £70 – the best £70 you’ll ever spend on yourself, trust me. aldwynsons.co.uk

FINE GROOMING IS THE MARK OF A MODERN GENTLEMAN. IT IS THE WAY A MAN PRESENTS THE BEST VERSION OF HIMSELF TO THE WORLD

ALL MADE UP Men wearing makeup is nothing new. Selfconscious Romans applied it to disguise bald spots, while ancient Egyptians used it to denote status. Today Keith Richards – at 75 – slaps it on to look impossibly cool and the modern man sees it as just another grooming tool. According to a recent opinion poll, one in seven British men now admits to wearing cosmetics.

But that doesn’t mean you need to invest in lipstick or eye shadow; makeup for men in 2019 is all about subtlety and invisibility, with the Barclaycard survey showing the product most likely to be used by men is concealer.

Products such as Tom Ford’s best-selling Concealer For Men (£34 in three shades) and Chanel’s Boy de Chanel Foundation (£52 in eight shades) – which forms part of the company’s first ever makeup range specifically for men – are perfect for disguising stubborn dark circles, spots, uneven pigmentation and unsightly razor burn. They’re also easier to use than you might think. Fingertips and an ability to blend are all you need. Even taming errant eyebrows is now simple, with Givenchy’s transparent Mister Brow Groom (£20.50).

With the stigma around cosmetics finally evaporating, men can now celebrate the fact there’s a genuinely quick fix available for all their skincare problems. chanel.com; tomford.co.uk; givenchybeauty.com

GROOMING

5 GROOMING PRODUCTS WORTH INVESTING IN ROJA PARFUMS VETIVER POUR HOMME PARFUM Earthy, sweet and leathery, with admirable staying power on the skin, British perfumer Roja Dove’s finest men’s creation uses the finest of ingredients to deliver olfactory excellence with every spray. £375 for 50ml EDP rojaparfums.com

SISLEŸUM FOR MEN ANTI-AGE GLOBAL REVITALIZER Premium skincare brand Sisley’s offering for men is a multi-functional wonder that works hard to firm, hydrate, heal and re-energise skin. Think of it as the Swiss-army knife of skincare.

NO SURGERY REQUIRED Thanks to a higher density of collagen, men’s skin tends to age differently to women’s, with wrinkles appearing later in life.

Unfortunately, it also means that when they do appear they tend to be deeper and more pronounced. This, along with the pressure to look youthful in an increasingly competitive workplace, explains why many men are now opting for quick-fix, non-invasive procedures to improve the look of their skin.

They are dubbed ‘tweakments’ because they offer subtle fine-tuning rather than radical restructuring – injectable dermal fillers (which plump up skin and minimise fine lines), Botox (which freezes muscles to prevent wrinkling) and targeted fat-busting laser treatments like the Strawberry Lift to tackle double chins and jowls. These account for nine out of 10 cosmetic procedures, with Brits spending around £2.75b a year on them.

With no surgical incisions or anaesthetic, they can be done in a lunchtime, with virtually no downtime and no scarring.

For just under £1,500 you can even have the sweat glands under your arms disabled thanks to a 40-minute treatment called MiraDry. Not only will you never need antiperspirant again, you also won’t sweat buckets worrying about the cost of all the other little ‘tweakments’ you might be tempted to have… miradry.com

£187 for 50ml harrods.com

FLORIS VIOLET CONCENTRATED MOUTHWASH Just a few drops of this this violet-flavoured, fluoride-free concentrated mouthwash added to a tumbler of water is all it takes to keep your breath fresh and gums healthy.

Swish is not the word. £40 for 100ml florislondon.com

CZECH & SPEAKE 8-PIECE MANICURE SET

THEY ARE DUBBED ‘TWEAKMENTS’ BECAUSE THEY OFFER SUBTLE

FINE-TUNING

RATHER THAN RADICAL RESTRUCTURING

Containing eight individual gold-plated grooming tools this luxury set, housed in a deluxe red and black leather case, is the perfect way to ensure your digits always look dapper. £450 czechandspeake.com

BOLIN WEBB X1 PRESTIGE FUSION5 CARBON RAZOR & STAND Like a racing car, Bolin Webb’s British-made prestige razor is sleek, sensual and handles beautifully – even around tricky bends. Looked after correctly, it’ll last a lifetime too. £350 bolinwebb.com

Statement jewellery: Modelling the Shere Khan necklace for Born Free Foundation’s Living With Tigers campaign

PHILANTHROPY

BORN TO BE WILD Joanna Lumley reflects on life in the spotlight and reveals how she’s using responsible fashion to bring the world’s focus back to nature Words: Michelle Johnson

J

oanna Lumley is a national treasure. Yes, it’s a phrase bandied about with alarming frequency, yet with a career spanning 50 years as a BAFTA-winning actress, author, presenter, model and activist, Lumley is undoubtedly the real deal. A true polymath, her career has not been without controversy – need we mention the ill-fated Thames Garden Bridge? – but Lumley’s diverse projects and sheer joie de vivre have cemented her enduring popularity among her multi-generational fanbase. In person, she is charming and conspiratorial, inviting us to share in the projects she is so fiercely passionate about.

Lumley devotes much of her time to human rights and animal welfare charities, lending her distinctive voice and campaigning skills to organisation such as Survival International and Tree Aid. Much of her work has had great impact worldwide – her work as the public face of the Gurkha Justice Campaign saw landmark success for Gurkha soldiers wishing to settle in Britain.

The British star, who is vocal about her passion for wildlife conservation, is also a founding patron of wildlife charity the Born Free Foundation ( founded by fellow actors Virginia McKenna and Bill Travers) which this year celebrates its 35th anniversary.

“I am thrilled to bits that this wonderful charity has not only survived but is flourishing,” Lumley says. “I have worked closely with Bill, Virginia and Will [the founders’ son and current president] since the charity was known as Zoo Check. They are like a family to me.

I have always loved animals in the wild, and when the opportunity came for me to step up to help, I was there in a heartbeat.

“One of my most treasured moments was working with Will in Kenya to translocate a small group of Rothschild’s giraffes for breeding purposes. To be so close to these almost mythical animals – and to be kissed by their hairy lips – made me feel I was half-way to paradise.”

One of the foundation’s current campaigns, Living With Tigers, promotes wild tiger conservation in central India by tackling poaching, protecting habitats and educating communities.

“Born Free’s tireless fight to help the big beasts has not only saved individual animals, it has highlighted to the public the dangers facing the natural world, all perpetrated by man,” Lumley says.

The actress modelled a unique Shere Khan necklace for the charity, created in 2011 by award-winning jeweller Catherine Best, worth more than £500,000. First auctioned eight years ago, it’s now available directly through Born Free to raise £300,000 for Living With Tigers.

Celebrating her 73rd birthday on 1 May, Lumley has no plans to cool down her campaigning work. As she tells Tempus: “I shall stop only when the lights go out.”»

PHILANTHROPY

MAYBE THE

LOVELINESS AND GLAMOUR

OF THE FASHION WORLD IS READIER THAN MOST TO SEE BEAUTY IN

THE NATURAL WORLD

Left: Lumley with her beloved Rothschild’s giraffes; wild tigers protected by Born Free Right: Lumley at Born Free’s Beyond the Bars event

Nothing delights the actress more than travelling the world; her documentary work has taken her on adventures to Norway, Greece, India, Japan, the Nile, the Silk Road and beyond.

“I loved Central Asia, Georgia and Uzbekistan.

I fell at once for Iran: anywhere with mountains is magic to me,” she says of her favourite adventures, noting that she has inherited her enthusiasm for the great outdoors from her mother, Beatrice Rose Weir. “The wild outdoors was her favourite place: mountains were her meat and drink. My mother adored spiders, and my sister and I were taught to love all creatures, and treat them with care and respect – even the lowliest worm, the slimiest slug and hissiest snake,” she laughs.

Born in Kashmir, India, in 1946, Lumley takes much of her personal travel style from the region’s influences. “In India the shalwar kameez is so cool and elegant,” she says. “I am pleased to see its influence being felt in the west. Wherever I travel I always take glorious scarves and shawls, black and white basics, long sleeves and covered legs… and my trusty canvas shoulder-bag, which almost has its own passport.”

Lumley is also no stranger to red carpets and says that the contemporary fashion industry should be a natural ally for wildlife charities.

“Maybe the loveliness and glamour of the fashion world is readier than most to see beauty in the natural world. But beware – some brands still use skins and hides that were reared or trapped in the most inhumane ways,” she says. “No fashion house should be using fur or pelts, and all of us

know now there are also dangers in plastic – but the greatest threat of all is indifference.”

Fashion has always been a key part of Lumley’s career. She was photographer Brian Duffy’s model and muse during the swinging 60s before her move into acting saw her take on standout roles in The Avengers (1976-77) and, of course, long-running sitcom Absolutely Fabulous in which she played eternal party girl Patsy Stone, alongside series creator and actress Jennifer Saunders.

“We all adored working on Ab Fab. We laughed ourselves sick and formed the tightest friendships,” she says. Lumley will next be on our screens opposite actor Roger Allam in Conversations from a Long Marriage, a sitcom based on the BBC Radio 4 play. “It’s a wonderful two-hander with the delicious Roger Allam,” she says. “Funny, touching and charming – the scripts are a joy to work on. What could be better?”

For now, Lumley’s sights are firmly set on her campaigning work, and she is hopeful that Born Free’s efforts will see a new lease of life for the endangered wild tigers of India.

“My family was always keen on courtesy and kindness, curiosity, bravery, modesty, good nature and energy. I am so proud if any of these attributes have rubbed off on me. I support so many things,” she says. “The way I look at it is this: If someone needs help and you hear their cries, help them. That’s really all there is to it.” bornfree.com

DRIVING AMBITION As Rolls-Royce unveils is first-ever luxury 4x4, its bespoke designer Alex Innes reveals to Tempus how he took the road less travelled to blend the majesty of the Phantom with the power of an SUV Words: Georgia Peck

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ast year was the time of the luxury SUV, with Lamborghini, Maserati and Porsche all unveiling highly rated models. And so, entering an already saturated market, Rolls-Royce needed to do something different to introduce its first-ever SUV. Enter the Cullinan. Weighing in at 2.6 tonnes and boasting a 6.75 ltr twin-turbo V12 engine delivering 850Nm of torque and a wading depth of 540mm, the Cullinan is the most rugged vehicle the manufacturer has created to date. Highly anticipated by the luxury brand’s long-standing patrons, many of whom own both a Phantom and a Range Rover, the Cullinan is, essentially, a convergence of the two.

Much like its namesake, the 3,106-carat Cullinan diamond, this luxe SUV has an exclusive feel. But unlike the diamond, which sits protected in the Crown Jewels collection, Rolls-Royce has made this vehicle as inclusive to city drivers as it is to off-road retreats. In previous years, Rolls-Royce had a ‘gentleman’s club’ feel about it – picture businessmen in smoking jackets discussing politics in the drawing room at White’s while their chauffeur waits outside in the Phantom. The introduction of the Cullinan warmly extends an invitation to all driving enthusiasts.

The all-terrain Cullinan is designed to be enjoyed from behind its enhanced steering wheel, rather than from the rear seat. Just one press of the new ‘Everywhere’ button and you’ll be fully prepped to confront anything from mud, sand, snow, rivers, hitting the slopes, or simply picking your children up from school.

As well as having the automotive capabilities to transport you anywhere in the world, the Cullinan has all the comfort and luxury expected of Rolls-Royce. Interiors, for instance, are fully customisable and can be fitted with all the amenities you desire – champagne chiller complete with Rolls-Royce crystal flutes, a decanter that keeps your Scotch at an optimum 15C (59F). Outside, meanwhile, are custom-made features such as viewing seats that appear from the rear boot at the touch of a button, complete with cocktail table – perfect for a day watching the polo or putting your feet up after a day on the shooting field. All make for an SUV like no other.

Tempus was invited to test drive the vehicle on the mountainous roads of Courchevel, where we caught up with Alex Innes, bespoke designer at Rolls-Royce Motor Cars, about how the Cullinan has become a prodigy within the luxury travel and design infinity. »

Left: Alex Innes, Head of Coachbuild Design Below: The new Cullinan luxury SUV

Tempus: Why did Rolls-Royce choose to make an SUV? Alex Innes: It was a convergence of a number of different things. There was a strong demand from the marketplace and we really took our time about it. As our PR director said: “a Rolls-Royce doesn’t come to a party when it starts, it comes to the party when it’s in full swing. And it’s not about being first, it’s about being the best, and about leadership.”

So therefore, when we knew we wanted to do it, we wanted to ensure that it was absolutely right. We will always be a manufacturer of beautiful limousines and elegant coupés and dropheads, but the Cullinan affords us the opportunity to push the bookend in a slightly different direction.

What are the key design features that set the Cullinan apart from other luxury SUVs on the market?

For me, it’s the sense of presence that the car has. It’s really quite remarkable when you see it. A Rolls-Royce should almost make time stand still. Whenever you see one, you just take a moment as it consumes you visually. And I think Cullinan does that more so than anything else that exists within the SUV sector.

But a Rolls-Royce design should never be overt. These cars are expressions of success and are built for people who are comfortable with their car being a projection of that.

It has a dual character – you can drop the kids to school in the morning in it, but it’s still a Rolls-Royce and if you pull up to the red carpet, people take a step back because it’s something different. There is probably nothing quite like it.

Did you design it to be driven or to be driven in?

There was a definite bias towards being driver-centric. But there are regions in the world, Asia for one, where owners still very much like to be driven. As a design team, we spent a lot of time experimenting with the fundamental architecture of

how the cabin is appointed. When designing the Phantom, we spent nearly all of our time sitting in the back trying to understand what the owner experience was. But with the Cullinan, we did a bit of both. It’s fair to say it was probably centric to the driver. That’s not to say the rear occupant experience isn’t equally fabulous.

How would you describe the architecture of the Cullinan’s rear cabin?

Rolls-Royces have traditionally always had flat floors.

We were really passionate about keeping this flat entrance to both the front and rear so that when you step into it it feels more architectural. It feels like a living room that you’re checking into, a room with furnishings, rather than a styled space.

What aspect of the car are you are most proud of ?

In an objective sense, you’re designing a thing; it’s an architecture, it’s surfaces, it’s lines, it’s materials. What you don’t get is the experience side of it – that only comes when the car exists.

If I were to put my finger on my favourite aspect, I’d have to say that what I enjoy the most is the off-road driving experience. I always described our cars before Cullinan as being un-automotive, and that was the thing I enjoyed about them, but with the Cullinan, the feeling you get when you do go off-road on really rugged terrain is just phenomenal.

I think that whole experience, and what it leaves you with is, for me, the most powerful element of this design.

What was your biggest challenge when creating the Rolls-Royce Cullinan?

The responsibility of maintaining the brand is probably the most difficult part of my job. Everybody has a certain »

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THE CULLINAN AFFORDS US THE OPPORTUNITY TO PUSH THE BOOKEND IN A SLIGHTLY DIFFERENT DIRECTION

As an all-weather all-terrain vehicle, the Cullinan was a natural fit in the Courchevel snow

image and impression of what the brand should be, and you’re charged with being the architect of that and developing it and moving it forwards. So, I think of everything we do, that’s the hardest part.

me. I think once you’re on that trajectory, suddenly something like Cullinan, an SUV, just kind of seems to fall into place quite naturally. It is part of a movement towards modernisation.

How has the driving experience changed from the Phantom to the Cullinan?

Do you believe the new designs are attracting the younger generations?

Five years ago, talking about the notion of a RollsRoyce that you could use on a daily basis was such a foreign concept, but that’s what we set out to achieve, to have traits and characteristics about the car by way of its usability that would make it accessible on a daily basis. And there are subtle changes, like the way you sit in the car, the diameter of the steering wheel. The formality is lessened slightly from any Rolls-Royce that has existed before.

I’ve spoken to Phantom drivers who take great care and attention to detail, even how the car is parked – it’s always facing outwards, the grille facing forwards, the Spirit of Ecstasy out… Whereas in the Cullinan, I’ve never had that conversation, and I can’t imagine I ever would, because it’s the sort of car you’d be quite happy just parking anywhere.

Rolls-Royce is doing very well at the moment. But it was all by way of design. People still have this preconception that Rolls-Royce is a brand that builds cars in a red brick factory for men in smoking jackets; they don’t expect to meet someone like me. It’s a credit to our management, who empower youth to make very bold decisions related to product development and the future direction of the company.

How is Rolls-Royce design and evolution led?

When I first joined the company, I remember the Wraith was the first project I worked on at the time. I was like, ‘Wow.’ I would never have expected Rolls-Royce to do a striking fastback, two-door coupé and to be so emotionally led both in terms of the design and the development of those cars.

So, the Cullinan does fit a pattern of modernisation.

But the interesting thing is that I actually reckon the Black Badge represented more of a departure for us, in terms of the hallmarks of the brand, than the Cullinan did, because we were creating a very different accent for the cars. And they were heading in a slightly more performance-orientated, dynamic direction, which was something we struggled to get our heads around.

So, the Black Badge was probably the biggest shift for

How does the bespoke design service work?

The unique thing about Rolls-Royce is that customers talk directly with the design team. We don’t expect you to talk to a salesperson about how you want the car of your dreams to look, in the same way that you wouldn’t talk to a salesperson about building the house of your dreams, you would talk to the architect.

We establish a rapport with the customer in the first instance. And then it’s design-led in terms of the relationship and the development of the bespoke car. It’s not systematic, it’s not industrialised. It’s a commissioning model. And as a result of that, the customer is empowered to do things that even we would not have imagined.

The million-pound question: if you could take the Cullinan anywhere in the world, where would you go?

Somewhat predictably, it would be Scotland. It’s just a stunning place. And that car, in that environment, it’s the perfect fit. It’s almost like magic. rolls-roycemotorcars.com

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Award-winning The Tongsai Bay is one of Thailand’s leading eco-luxe resorts

T THAI BREAK From eco-living in Koh Samui to cultural immersion in the capital, Thailand is a luxury destination with tradition at heart

Words: Ross Forbes

he Kingdom of Thailand is known for its fine cuisine, sandy beaches and rich cultural heritage.

But what efforts is this hot-spot making when it comes to luxury travel? From my experience hopping from the island of Koh Samui to the capital city, Bangkok, the real question is: what isn’t it doing?

One of the most exciting trends in luxury travel is an increasing focus on eco initiatives, and that’s where Thailand is leading the way. It can be easy to forget the planet while you’re lounging in the sun – after all, you’re on holiday. But setting off with sustainability in mind needn’t be a bore. In fact, choose the right resort and it can enrich your experience.

Another luxury travel aspiration that Thailand delivers with ease is authenticity. Travellers looking for cultural immersion will find an abundance of opportunities to entertain, educate and inspire.

From my experience of two very different five-star resorts, it’s clear there’s much more on offer here than your standard beach holiday. Whether you’re looking to experience the best in eco-travel or throw yourself into the culture of a colourful city, there’s opportunity aplenty to discover the ‘real’ Thailand – and see for yourself how the country is setting the pace in luxury travel. »

GREEN AND PLEASANT For conscious travellers who don’t wish to forgo any of life’s luxuries The Tongsai Bay couldn’t be more perfect.

Set over 28.5 acres of practically untouched land wrapped around a secluded bay, this family-owned eco-resort lives and breathes luxury and sustainability.

Although the hotel is sizeable, a relatively modest 83 rooms span the main house and villas, preserving not only the privacy of the guests but the nature of the land. The resort has been designed in keeping with the landscape in order to protect local wildlife and vegetation – not a single tree has been touched in the building of the resort.

Guests can choose between ocean- or garden-front suites and cottages – many of which have their own pools and outdoor baths. The highlight is Akorn Villa, named after The Tongsai Bay’s late founder Akorn Hoontrakul, and our luxury base for the duration of our stay. This two-bedroom home from home has its own private terrace overlooking the sea that comes with an L-shaped infinity pool, dining area, vast bath plus a four-poster gazebo bed – and yes, I am still just talking about the terrace. Inside you’ll find equally sumptuous appointments – open-plan suite-style bedrooms and shower rooms, with a zen-like garden terrace leading out from the master bedroom and shower room.

Each morning, guests enjoy breakfast at Chef Chom’s Thai Restaurant, where we’re greeted by the ‘Fruit Lady’, as effervescent Chef Pu is lovingly known.

Stroll towards the smoothie bar and before you can utter a greeting, Chef Pu tells you exactly what fruit and veg you need for a morning boost – apparently an injection of mango will be just the thing to help with my jet lag.

After a Thai-inspired breakfast, a visit to the hotel concierge enlightens us on the best things to do

on the island. A real highlight is visiting the Samui Elephant Sanctuary. The Tongsai Bay takes care not to work with attractions or businesses that mistreat animals or wildlife. Witnessing the respect for these majestic creatures and knowing they’re in such safe hands is far more insightful and rewarding than a visit where the wellbeing of the animals is unknown.

Another must-see is the fisherman’s market, a 10-minute drive from the hotel. Visit in the evening for relaxed island vibes brought to life as locals and visitors come together to enjoy the countless food stalls, restaurants and bars.

Back at the resort, a visit to the organic garden is a beautiful eye opener. A prime example of the hotel’s commitment to sustainability, this is filled with glossy vegetables and fruits, lush herbs and flowers, all purpose-grown for the hotel’s kitchens. Gardeners even produce their own effective microorganism, made from fermenting fruits, that is used in the hotel as a natural cleaning agent.

We continue our culinary discovery with a cooking class, taught by Chef Tube, who demonstrates how to create authentic local recipes using traditional processes and only the finest organic ingredients from the garden. The four-course meal I’m taught to make consists of Thai green pork curry, shrimp pad Thai, Thai chicken soup and a sweet coconut cream dessert – all whipped up within an hour.

Your stay wouldn’t be complete without dinner by the stunning bay, where the long-serving team blend specialty cocktails using a gorgeous Thai gin exclusive to the hotel called Iron Ball, as well as cooking local seafood on grills under the stars. The beach barbecue is just one weekly event the hotel hosts, alongside movie night on the beach, private dining experiences and yoga classes – a real taste of eco paradise. » tongsaibay.co.th

VEGETABLES, FRUITS, HERBS AND FLOWERS ARE

PURPOSE-GROWN FOR THE HOTEL’S KITCHENS

Above: Ocean views comes as standard at Akorn Villa Right, clockwise: The lobby terrace, Chef Pu (aka Fruit Lady), Chef Chom’s Thai Restaurant, tempting starters

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ECO-LUXE CITYBREAK After a few days relaxing on Koh Samui, it’s time to say goodbye to the island and fly to the capital for a completely contrasting experience – and the newly opened Lancaster Bangkok is the perfect luxury base from which to take in one of the most exciting cities on the planet.

Located in the heart of cosmopolitan Bangkok, this family-owned hotel boasts enchanting views of the vibrant cityscape as well as all the creature comforts expected of a five-star city hotel – including a rooftop pool and state-of-the-art gym – making the Lancaster a perfect blend of traditional Thai culture and city modernity.

Rather than viewing the city through the tinted windows of an air-conditioned Mercedes, the concierge team recommends a more hands-on approach to get the best out of its culture-rich bustle.

The preferred mode of public transport in Thailand is either tuk-tuk or high-speed khlong boat – not dissimilar to a supercharged gondola. Trust me, after a thrilling commute on either of these, you’ll never want to travel on the underground again.

The hotel is within easy reach of a number of historical sites, temples and markets, all of which are worth visiting but might leave you scratching your head as to which to see first on a tight itinerary. Of the three temples we visited – Golden Mountain, Wat Mongkorn Kamalawat and Wat Pho – I recommend Wat Pho (near the Grand Palace in Rattanakosin), home to a giant reclining gold-leaf Buddha, measuring a whopping 46m in length. This is also a fantastic place to step out of the bustle and indulge in traditional relaxation treatments from the country’s leading school of massage, Wat Pho Thai Traditional Massage School.

You also mustn’t miss the Viva Jiva Spa at the Lancaster Bangkok. Here therapists focus on the unique anatomy of your body, combining scientific and holistic methods from the East and West to create a treatment tailor-made for you. In all honesty, I thought I’d be limping after a firm Thai massage, but this is probably the best massage I’ve ever experienced – by the end I can’t believe how rejuvenated I’m feeling (a good thing as I’m ready for more sightseeing).

As the sun sets, we head out to the Rot Fai night market in the Ratchada area for a taste of Thai atmosphere and nightlife. Here you can indulge in incredible portions of leng – delicious pork bone soup – from the street-food restaurants, shop for artisanal crafts from hundreds of stalls and dance the night away to live music at one of the many outdoor pubs. All part of the Bangkok experience. lancasterbangkok.com

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Clockwise from top left: Rot Fai night market, The grand reception and rooftop pool at Lancaster Bangkok

French fancy Tempus discovers that Le Clarence epitomises the finest traditions of Parisian haute cuisine – but with a flair for modern tastes Words: Georgia Peck

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ith one of the most prized addresses in Paris’ Golden Triangle, it’s only natural that even the facade of Le Clarence reflects the cachet of its quartier. Located on Avenue Franklin D Roosevelt, a stone’s throw from the bustle of Avenue Champs-Elysees and l’Arc de Triomphe, the private townhouse of Hôtel Dillon is an oasis of elegance and tranquillity.

Inside, Le Clarence restaurant brings together an exceptional amalgamation of gourmet cuisine and fine wines in a space that features some of the richest interiors and characters this sumptuous city has to offer.

The late 19th-century French mansion was once the home and practice of a private doctor, and it has since undergone extensive renovation under the caring eye of Prince Robert de Luxembourg, CEO and chairman of Domaine Clarence Dillon and great grandson of esteemed American financier Clarence Dillon. To this day, the property remains much like a family home – Prince Robert sought out all the vases, paintings and furniture to recreate the atmosphere of his French home, Château Haut-Brion.

The family also owns and manages Domaine Clarence Dillon – the wine company that owns Château Haut-Brion as well as its close neighbour Château La Mission Haut-Brion, Clarendelle and Château Quintus. Bottles from each of these prestigious estates can be sampled in La Cave du Château, in Hôtel Dillon’s basement. Decorated with an array of magnums and specialty wines sourced from the greatest terroirs of France this wine shop and showcase makes a superlative tasting room for clients or private parties.

We sampled the Clarendelle Rosé and found ourselves pleasantly surprised by both the taste and price – it’s only available on French soil, of course. Some of the rarer wines on offer included an 1884 Chateau Yquem Sauternes, alongside a Margaux Margaux and Petrus – deputy managing director Philippe Vidal talked us through the personal relationships they have with each winemaker and chateau, more than 250 of which are represented here.

Le Clarence is on the first floor of the elegant townhouse, overlooking a pretty courtyard that’s perfect for a pre-dinner aperitif – look up from the central fountain and you’ll see head chef Christophe Pelé (previously at Ledoyen, the Bristol, Pierre Gagnaire, the Royal Monceau and La Bigarrade) preparing your food in the kitchen.

The two-Michelin-star restaurant makes inspiring use of the mansion’s original features and traditional decor.

Rich mahogany wooden panelling and period tapestries adorn the walls while floor-to-ceiling windows bathe the room’s white linen tablecloths with light.

When it comes to cuisine, there is no menu – meals are designed from seasonal ingredients sourced from local suppliers. So we simply tell our attentive waiting staff how much time we have and our dietary requirements, and let Le Clarence’s talented kitchen team get to work.

The restaurant’s approach is a daring one, but one that truly pays off thanks to Chef Pelé’s talent and modern palate. Our tasting menu featured hors d’oeuvres of cuttlefish, kiwi and karashi – a Japanese mustard – before moving on to a range of starters, including pearly scallops served two ways. Further courses included fish dishes of red mullet, and red prawns served with fried artichoke and Pyrenees black ham, then meat delicacies such as beef fillet with anchovy, squid ink and celeriac puree, and a mushroom and foie gras ravioli.

We managed to find room for desserts including rum baba, chocolate tart from Sao Tomé and blood orange sorbet. Each dish was exquisite in its own right, but further paired expertly and beautifully by the sommelier with a carefully curated selection of wines including a Pessac-Leognan, Chateau La Mission Haut-Brion 2000.

With its sumptuous setting and deliciously bespoke dining experience, Le Clarence is a perfect example of how a long-standing family-run business can express its history and tradition, while still staying ahead of the times. le-clarence.paris

GOURMET Left to right: Head chef Christophe Pelé and Prince Robert de Luxembourg

La Cave du Château showcases the finest wines from France and Europe

SPANISH STAR RISING The reinvented Gran Hotel Miramar is at the forefront of a luxury revolution in Málaga Words: Lysanne Currie

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t was once a glamorous hub for celebrities and socialites, where throughout the 1950s and 1960s, the rooms rang with the voices of Elizabeth Taylor, Ernest Hemingway, and even a famous bullfighter or two. More recently, it served for 20 years as Málaga’s Palace of Justice, teeming with lawyers and judges.

Reaching back even further, this iconic building functioned as a makeshift field hospital, tending the wounded during the Spanish Civil War. With such a wealth of fascinating antiquity imprinted in its gleaming white brickwork, it seems incredible the Gran Hotel Miramar Málaga would ever close its doors – which it was forced to do in 1967, in the face of the Torremolinos travel boom.

But that’s all in the past. Following a €65m facelift, the curtain rises once again on one of Europe’s ‘grande dames’, a member of The Leading Hotels of the World, steeped in nearly 100 years of Andalucian history.

Set amid gorgeous gardens and located on La Caleta beachfront, a beautiful stretch of sand leading to the port, the hotel began life in 1926 as the Hotel Príncipe de Asturias. The handiwork of Málaga’s foremost architect, Fernando Guerrero Strachan, this modernist masterpiece was five years in the making, resulting in the fashionable Andalusian city’s first luxury hotel. European royalty and high society must have had a ball here during that roaring decade.

Through its exquisite attention to detail, the newly restored five-star Miramar succeeds in evoking such otherworldly class. Beyond those white walls, truly stunning interiors await; from Moorish carved wooden arches to Andalusian tiling, stucco ceilings and hand-painted frescoes, all reflecting the region’s culturally rich past.

There are sea views from a quarter of its 200 rooms and suites, while vast beds and en suite marble bathrooms with

rain showers are just the tonic for weary travellers. Five restaurants and bars – including a rooftop just made for chilling out – provide a wealth of local dishes (with an emphasis on seafood and grilled meats) and international cuisine, served in style on fabulous mother-of-pearl and black glass plates. There’s a ballroom, 15 conference rooms and even a kids’ club, as well as a luxury two-tiered spa offering an enticing range of treatments along with its saunas, hot stone loungers and a technogym.

Signature wellness experiences include such exotic offerings as a Happiness Ritual, a Queen of Egypt Ritual and an Eternal Youth Ritual…

Freshly rejuvenated, you’ll no doubt want to explore your surroundings. Over the past 10 years, the city council has transformed Málaga into a sophisticated arts hub at a cost of €100m. And there are museums and galleries galore here – from the Centre Pompidou, where you’ll find paintings by Frida Kahlo and Magritte, to the Carmen Thyssen Museum, housing priceless works

by Miró and Matisse. Málaga has a famously artistic son, Pablo Picasso, too – and the Picasso museum lies at the centre of town.

Elsewhere, there are lovely scenic views to be had overlooking the city port from the Moorish Castillo de Gibralfaro, and baroque marvels to be discovered in the stunning local churches and cathedrals.

Art not your thing? Take advantage of the many beachfront bars and gourmet restaurants the city has to offer, along with its bustling food market, the Atarazanas, which dates back to the 14th century.

Alternatively, you could simply laze around on the sandy Málaga beaches, where there’s glorious sunshine even in the cooler months of the year. Culture vultures, foodies, spa lovers and sun worshippers rejoice: Málaga, and the Gran Hotel Miramar, have it all. granhotelmiramarmalaga.com

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dreams Behind the doors of the most extravagant five-star hotel rooms in London Words: Michelle Johnson

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hen it comes to luxury hotels, London has long held a reputation for historic elegance.

Before the ‘grande dame’ hotels heralded a new way of visiting the capital in the 19th century, families that didn’t own a townhouse here had to make do with renting one for the season.

Ever since then, London’s premium guest addresses have been at the cutting edge of visitor satisfaction – offering the latest gadgets, interior design trends, haute cuisine, unique local experiences, discretion and VIP service – all while retaining their own distinctive style.

But even among the most respected of London hotels there are those whose signature suites deliver something far beyond five-star service. Discover a world of extravagant elegance right on our doorstep, as Tempus explores the very best hotel suites in London. »

The Royal Suite at The Lanesborough brings historic British opulence to modern London

THE ROYAL SUITE | THE LANESBOROUGH A seven-bedroom temporary home fit for royalty, the Lanesborough’s Royal Suite extends across 450sqm and offers views of the Garden at Buckingham Palace. With seven bathrooms, two living rooms and an extravagant dining room that seats 12 guests, the suite can be booked in part or in its entirety. The colourful décor and sumptuous furnishings hark back to a past era, while mod cons are cleverly hidden for visitors’ convenience. As an added bonus to the royal treatment, guests can benefit from the private service of a dedicated butler and a chauffeur who, naturally, drives a British-made Rolls-Royce Phantom.

From £26,750 per night oetkercollection.com

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MANOR HOUSE WING | ROSEWOOD LONDON The only hotel suite in the world to boast its own postcode (WC1V 7DZ), the Rosewood London’s expansive 585sqm Manor House Wing sets the standard for exclusive opulence right in the heart of Holborn. As well as the exquisite master bedroom, living room and bathroom, the suite’s self-contained wing, which has a private entrance from the street, can be fitted to incorporate six additional bedrooms, six bathrooms, two extra living rooms, kitchenette, pantry and a dining area. Décor is classic and timeless – contemporary gadgets are stored subtly within the carefully-curated furnishings and objets d’art – while the master bathroom is dominated by a stylish Carrera marble circular soaking tub (below) for instant relaxation. » From £18,000 per night rosewoodhotels.com

KIPLING SUITE | BROWN’S HOTEL This exquisite suite is famously where author Rudyard Kipling penned his 1894 literary masterpiece The Jungle Book, and is sure to inspire any guest’s creative flow with its lashings of natural light and bright, autumnal shades.

Designed by Olga Polizzi, the 169sqm space bridges the gap between Brown Hotel’s colonial history – it’s one of London’s first luxury hotels – and contemporary style, with hand-painted Lewis & Wood wallpaper, plush velvet furnishings and bright Arabescato marble in the bathroom. But while steeped in history, this is a quirky suite designed for a joyful stay – from the portrait of Mrs Brown in the bedroom, to the enormous Porta Romana sculpture above the bath. Kipling Suite visitors can also enjoy massage treatments in the hotel’s spa, a complimentary selection of fine, local amenities and a Bentley chauffeur service.

From £5,000 per night roccofortehotels.com

THE APARTMENT | THE CONNAUGHT Located on the top floor of The Connaught, the Apartment is, quite literally, the height of Mayfair fashion. The 285sqm, two-bedroom penthouse suite was designed by the late David Collins, and features striking, modern décor that sits in the glows of natural light that flows in from the large floorto-ceiling windows. White marble and sophisticated blue furnishings create a sleek setting in the living area and eightseat dining room, while the bedrooms provide immediate tranquility with crisp, neutral fabrics and curtain-covered four-poster beds. Guests of The Apartment can make the most of a discreet butler service and indulge in an array of quintessentially British treats, including a locally stocked minibar, Cowshed amenities and Burberry trench coats – the latter are only for use during the stay, we’re afraid. Need more room? Reserve the entirety of the hotel’s sixth floor and convert the Apartment into a three or nine-bedroom suite with a wrap-around balcony, From £16,800 per night the-connaught.co.uk

PROPERTY THE ROYAL PENTHOUSE | THE CORINTHIA HOTEL LONDON Aptly named, the Corinthia Hotel London’s Royal Penthouse will make you the king or queen of all you survey with its 180-degree panoramic view of London.

Spread over two floors connected by a private lift, the Royal Penthouse incorporates an imposing entrance hall, living space, study and dining room, with a grand staircase leading up to two king-size bedrooms and marble bathrooms, with options of extending into two more bedrooms. The 395sqm space features a private spa suite, a butler’s kitchen and a walk-in wine cellar, but it’s the phenomenal terrace that takes this slick, contemporary suite into another league entirely.

From £21,600 per night corinthia.com

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MORE Say farewell to minimalism – a return to maximalism is ushering in a fabulously flamboyant new wave of decadent designers Words: Charlotte Metcalf

Martin Brudnizki took the decor at iconic member’s club Annabel’s on a fantastical journey. Image © James McDonald

INTERIORS Below: The Bedouin tent-inspired Mandrake Suite

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hen the new Annabel’s, designed by Martin Brudnizki, opened on Berkeley Square a year ago, it heralded the end of an era in the design world. Gone was any concept of restraint, discretion or calm, to be replaced by a riotous, joyous fiesta of clashing colour, intricate pattern and wildly lavish materials. Overnight, anything remotely connected with the Age of Austerity was relegated to the last century.

It was time. For years, we have seen homes deemed ‘desirable’ by estate agents stripped back to their bones to become drearily homogenised. Back walls have been hacked out to make room for floor-to-ceiling glass boxes giving on to tidy landscapes. Interiors have been stripped of carpet, curtains and fireplaces, painted in neutrals, clad in concrete and furnished with giant functional kitchens as sterile as laboratories and as brutally functional as abattoirs. Those of us unable to afford such wholesale destruction and reconstruction have watched on in dismay at estate agents wrinkling their noses at our unfashionable, cosily-cluttered lairs.

Yet all along, I have rejoiced to return from dinner in a chilly glass box to sink gratefully into my idiosyncratic mess of precious hoarded possessions. If any home represents the antithesis to Marie Kondo’s minimalist methods, it’s mine. Yet ‘maximalism’ was not a word I had heard before February, when I was asked to chair a panel on ‘More is More’ as part of e-commerce platform Luxury Cave’s inaugural exhibition at London’s Design Museum. Only then did I identify, through and through, with being a maximalist.

It seems surreal to be discussing maximalism in the paredback, blond-wood space that is the Design Museum. Our panel comprises Martin Brudnizki and three more award-winning designers; Lisa Ronson, Tala Fustok and Jiin Kim-Inoue. Brudnizki kicks off the conversation by quoting the legendary interior designer Phyllis Morris: “Minimalism is for people without much to say.” The audience laughs as Brudnizki admits to hating white – “It’s just so cold,” he shudders. If designer Kelly Hoppen, crowned the Queen of Taupe, represents yin ( female, earth, dark and cold), Martin Brudnizki is surely yang (male, heaven, heat and light). He describes his vision of Annabel’s, the Mayfair private members’ club his design studio overhauled, as, “a fantasy – you don’t go there for reality, you go to be transported somewhere else, to feel glamorous.”

Tala Fustok is the creative force behind the new Mandrake Hotel in London’s Fitzrovia, where her designs include a sumptuous, scarlet cocktail booth and a silky tented suite in overlapping textures and deep, rich colours. The latter conjures up the bohemian sets for 1970 Mick Jagger film Performance. It harks back to hotels like »

Blakes and The Portobello, when hotels were not ‘homes from home’ but exotic, theatrical backdrops for nights of intense, erotic revelry and fun. “The suite’s a sort of treasure chest of curation,” explains Fustok. “It’s a compilation of unexpected things from all over the world that you’d never put together yourself. People choose this room because they want something decadent and opulent that feels like another universe away from daily life.”

This kind of curated drama may work for public spaces like hotels and nightclubs but what of the home? Having spent over 20 years as commercial director at Ronson Capital Partners, Lisa Ronson has helped create some of London’s most recognisable residential and commercial buildings, from the Salesforce Tower and the Heron, both in the City, Riverwalk in Westminster and Chiltern Place in Marylebone. She defines maximalism as a way of maximising the design input rather than a look itself. “It’s less in terms of stuff and more in terms of design detail,” she says. “Homes must be simple and calm. You can’t determine what people’s taste is going to be when designing multiple homes so it’s important to provide a palette that can be the basis for that. We always use the most interesting and beautiful materials but perhaps they’re a bit less flamboyant than those Martin Brudnizki might use, like the pink carved onyx in Annabel’s.”

Jiin Kim-Inoue, who describes herself as a “reluctant, cautious maximalist”, works for Finchatton, a company whose portfolio includes homes in London’s smartest addresses from Grosvenor Square to Knightsbridge and Belgravia and overseas residences in places like Maine, the Bahamas and St Tropez. She agrees with Ronson that people don’t want sensory overload in their homes. “You don’t want your senses maxed out,” says Kim-Inoue, “but I’ve started seeing more requests for colour and texture and this may have something to do with people having multiple homes. Before, they’d want a quieter, more classic backdrop that was going to last. Now their homes are less permanent, they’re happy to have fun with the design and give their houses more individual characteristics.” She points out

IT HARKS BACK TO AN ERA WHEN HOTELS WERE NOT ‘HOMES FROM HOME’ BUT EXOTIC,

THEATRICAL BACKDROPS FOR

NIGHTS OF INTENSE, EROTIC REVELRY

From right , clockwise: Cocktail booth at The Mandrake Hotel, pink onyx basins, and rococo statuary, both in the powder room at Annabel’s

how much Instagram and Pinterest have fuelled interest in design and given people confidence to experiment. “You used only to see extraordinary interiors in magazines like Elle Décor or World of Interiors,” Kim-Inoue says, “but now lots of bold looks are instantly accessible on digital platforms and my clients can see a look and communicate it to me fast.”

“I was warned at art college that people would always be afraid of colour,” adds Brudnizki. “But I will always love and use colour. But for colour to work there are principles. I might combine eight different pinks and reds but they will all have a unifying tone. I’m very colour sensitive so I can judge that tone. The end result might look thrown together and spontaneous but in fact it’s all underpinned by strict rules. Once people see that colour can work, they’re more confident about using it.”

“I’m starting to be asked for elements of the Mandrake in offices,” says Fustok. “People want extravagant, exciting elements around them, even in the work place. It’s stimulating.”

When Anouska Hempel opened The Hempel Hotel in Bayswater in 1997 as an all-white temple to minimalism, it became an instant hit with celebrities from Keanu Reeves to the Beckhams. It closed in 2013, whereas Blakes, Hempel’s original hotel that is akin to The Mandrake, celebrated its 40th anniversary last year, perhaps a monument to maximalism’s enduring appeal.

Minimalism’s sleek purity suffers even when a coat is chucked carelessly on a sofa and a single loved ornament or cushion in the wrong colour can ruin the look. So perhaps it’s no surprise we’re rejecting the rigour of puritanical minimalism in favour of a more self-indulgent look.

In this age of political and economic turmoil, the least we can do is immerse ourselves – even for a few hours – in a colourful environment full of surprises that can distract us from our daily grind.

Currently, self-expression may be the one aspect of life we feel we have control over so we may as well go for it without holding back.

After all, maximalism represents a spirited, rebellious outburst against all that is drab, boring and constrained.

“Society loves a label,” concludes Brudnizki, “but don’t try and stick what you do into a box and label it – break out and mix everything together.

In design terms, we’ve gone around the houses and finally thrown away the rule-book. We’ve let the cat out of the bag and finally we can do whatever we want and start to have fun.”

INTERIORS

MOD-ERN STYLE As the V&A hosts a landmark exhibition, Tempus looks at how Mary Quant became the face of a generation and pioneered a new hot Brit aesthetic Words: Michelle Johnson

THE EXHIBIT AT THE V&A EXAMINES HOW

D

ame Mary Quant is synonymous with the Swinging 60s. Credited with popularising the miniskirt and inventing hotpants, the British designer was also the first to use PVC fabrics for her ‘wet look’ dresses, Peter Pan collars and Quant Afoot footwear. Her bold use of colour became the aesthetic of a generation – famous names including models Jean Shrimpton and Twiggy become instant fans and championed her distinctive look. A pioneer of British fashion, Quant’s impact will be celebrated with a new Victoria & Albert Museum exhibition opening in April.

Quant founded her first boutique on London’s King’s Road in 1955 – the infamous Bazaar –with her then future husband, aristocrat Alexander Plunket Greene. From the start, the self-made fashion giant fought against the dominance of traditional Parisian couture houses such as Givenchy and Balenciaga, whose tailored, multi-generational elegance was no longer such an inspiration to a youthful generation eager to rebel against their parents’ staid style.

Quant’s colourful and irreverent designs became an instant favourite of the artistic Chelsea Set and sleekly styled Mods, and by 1957 she had opened a second Bazaar store that hosted evening ‘scenes’, with music and refreshments for clientele seeking more experiential shopping trips. As business savvy as she was stylish, by the late 1960s, Quant had become the most famous face in British fashion, conquering international couture, the UK high street via a mass market diffusion line, as well as the US market.

“We didn’t necessarily realise that what we were creating was pioneering, we were simply too busy relishing all the opportunities and embracing the results before rushing on to the next challenge,” says Quant. “I am enormously grateful to have been involved with so many talented people whose contribution to that ground-breaking, revolutionary and memorable era will also be recognised.”

The show – Mary Quant, sponsored by King’s Road, at the V&A – is curated by Jenny Lister and Stephanie Wood and runs from 6 April 2019 to 16 February 2020. Bringing together more than 200 garments and accessories created by the designer – including previously unseen pieces from her personal archive – the exhibition at the V&A showcases how one designer transformed the landscape of design for ever.

“Mary Quant transformed the fashion system, overturning the dominance of luxury couture from Paris.

She dressed the liberated woman, freed from rules and regulations,” says Jenny Lister, co-curator of Mary Quant at the V&A. “Her youthful, revolutionary clothes, inspired by London’s creative scene, made British streetstyle the global influence it remains today.” vam.ac.uk/maryquant

ONE DESIGNER

TRANSFORMED THE BUSINESS OF FASHION FOREVER

Right: Mary Quant and Alexander Plunket Greene, 1963. © MirrorpixRobert Young Below: Kellie Wilson wearing tie dress by Mary Quant’s Ginger Group, 1966. © Gunnar Larsen

CULTURE

SAVE the DATE Your luxury events calendar for April and May 2019

Sport

Culture

From golf to horse racing, there’s plenty to entertain sporting enthusiasts, this spring. In pole position is the British Boat Race (7 April), which sees rowing teams from Oxford and Cambridge universities battle it out on the Thames, cheered on by spectators. Across the pond, the 2019 Masters Tournament (11-14 April) will host the world’s top golf pros for the first major of the year at Augusta National Golf Club. Save some energy for the Kentucky Derby (4 May), one of the world’s most prestigious horse racing events.

Open your ears to the sounds of jazz, blues and world music at Cheltenham Jazz Festival (1-6 May). The UK’s leading jazz festival assembles some of the biggest names in the industry, as well as local and emerging talents. Next, hot-foot it over to the capital to enjoy the sights and scents of the world-famous RHS Chelsea Flower Show (21-25 May). Taking over the grounds of the Royal Hospital Chelsea, it’s a colourful celebration of spring, with incredible displays of floristry, gardening and horticulture in the heart of London.

Motoring Race into spring with the 1000 Miglia (15-18 May), the 37th re-enactment of the historic Mille Miglia classic car rally. From the start point in Brescia, drivers will take 430 exceptional vehicles on a beautiful route through Italy. Next on the racing calendar is arguably the most famous Formula 1 weekend of the year, the Monaco Grand Prix (26 May). Sail into the harbour and enjoy front-row seats to the action. If you’re extending your stay in the principality, you can get even closer to some of the world’s rarest supercars at Top Marques Monaco (30 May-3 June) at the Grimaldi Forum. »

Art The year’s most illustrious art event, Frieze New York (1-5 May) brings together prominent artists and gallery curators at Randall’s Island Park.

Highlights include an exhibit on contemporary Latino and Latin American artists plus a spotlight area, overseen by former MoMA curator Laura Hoptman, showcasing 33 solo presentations – including rarely seen pieces – by avant-garde pioneers. Closer to home, London’s British Museum (left) will host Edvard Munch: Love and Angst (11 April-21 July), the UK’s biggest exhibition of works by the Norwegian maestro, including a rare lithograph of his most famous and evocative piece, The Scream.

Red carpet Film and fashion collide at the annual Festival de Cannes (14-25 May).

This year’s leading films will be judged by a jury of peers led by Babel director Alejandro González Iñárritu. As well as on the festival red carpet itself, plenty of stars are expected at high-profile charity events such as the amfAR Gala Cannes (23 May). Another glamorous favourite is The Costume Institute Gala at New York’s Metropolitan Museum of Art – better known as the Met Gala (6 May). Chaired by Anna Wintour, Lady Gaga, Alessandro Michele, Harry Styles and Serena Williams, this year’s theme is inspired by Susan Sontag’s 1964 essay Notes on “Camp”.

Superyachts Sail into spring with the ninth international Singapore Yacht Show (11-14 April), the largest display of superyachts in Asia. The four-day event at ONE˚15 Marina Sentosa Cove offers interactive activities, live demonstrations, gala dinners and a host of glamorous parties. Enthusiasts can follow the waves north to Barcelona for The Superyacht Show (8-11 May), where private harbour OneOcean Port Vell will host customers and charterers in the shadow of this coastal city’s stunning urban architecture.

Finish the season in London at the 14th World Superyacht Awards (16-18 May), which recognises ingenuity and innovation in the industry.

For more exciting events, visit our website: WWW.TEMPUSMAGAZINE.CO.UK

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31/01/2019 10:10