Tanween 2024, Saudi Arabia’s most important design conference, comes back to Ithra this month. Running between 31st October and 6th November 2024, Tanween celebrates the very best in global design and innovation.
Shahad Alwazani, programme lead for the conference, explains why Tanween is such a significant event in the world of design. “Its success is largely due to its diverse and impactful programme that prioritises cross-cultural dialogue and concrete opportunities to innovate.
“Over the years, Tanween has welcomed more than 150,000 participants of all backgrounds, from design experts, and established and promising creatives of the region to design students, but also local audiences including families, schools and design enthusiasts.
“We pride ourselves in offering an event that not only attracts the global design community but also inspires new audiences to join this open dialogue connecting creativity and innovation.”
Routes to Roots, an exhibition co-curated by Ithra and Isola, was inaugurated at Tanween 2023. Photo courtesy of Ithra Studio.
Manar Aldhwila, Head of Creativity and Innovation at Ithra, also emphasises the huge breadth of areas covered at the conference, “Tanween offers a diverse programme ranging from architecture…
If Jewels Could Talk is an original history of humanity through jewellery. Carol Woolton writes with authority and passion, both of which make this book an easy and interesting read, taking us from cave times to the present through the objects we have used for self-adornment. Woolton has chosen seven items: hoops, rings, beads, charms, […]
The first exhibition of the American artist in the U.K.
Newport Street Gallery brings us the first exhibition of Wes Lang in the U.K. Wes Lang: The Black Paintings is a deeply moving, emotional show that lets the viewer take a glimpse into the world of the celebrated American artist. Lang’s creativity draws from a wide range of sources, from childhood memories and ephemera he […]
The first black model to feature on the cover of Vogue, Naomi Campbell ranks alongside Coco Chanel and Valentino as one of fashion’s most important icons. After being discovered by model agent Beth Boldt at the age of 15, the south Londoner very quickly saw her life turn into a fashion fairy tale. By the late 1980s Campbell had joined the supermodel gang, walking for every major designer, posing for the best photographers and appearing on more covers than any other black model of her generation.
The V&A is poised to make history with the unveiling of its ground-breaking exhibition NAOMI: In Fashion, which explores Campbell’s 40-year catwalk career as well as her activism and philanthropic endeavours.
Produced in collaboration with Campbell herself, the show gives unprecedented access to her life beyond the Naomi portrayed in the press. Interviews, candid photographs, and personal artefacts will provide an intimate perspective on the woman behind the iconic persona.
From the left: Naomi as a kid in New Orleans and at the zenith of her career, photographed by Steven Meisel, the American photographer with whom Naomi worked in several occasions.
The exhibition starts with clips of Campbell on the catwalk, illustrating her legendary “walk” and setting the scene for this unique celebration of the supermodel’s unparalleled career. From there, the show takes visitors back to her childhood in south London.
NAOMI: In Fashion draws upon Campbell’s extensive wardrobe of haute couture and ready-to-wear ensembles she wore during key moments in her career along with loans from designer archives and objects from the V&A’s collections. Highlights include a dramatic 1989 Thierry Mugler car-inspired corset, Campbell’s outfit for her starring role in Sarah Burton’s last show as creative director at Alexander McQueen, a pink Valentino ensemble worn at the 2019 Met Gala and the pair of staggeringly high Vivienne Westwood platform shoes the supermodel was wearing when she infamously toppled over on the catwalk in 1993.
Examples of Campbell’s earliest covers are also on show in this section, including Patrick Demarchelier’s shot of her for the August 1988 issue of Vogue Paris.
From the left: the car-inspired corset by Thierry Mugler from 1989 (courtesy of Mugler Archives); dressed by Naomi’s mentor, Azzedine Alaïa (courtesy of Azzedine Alaïa Foundation); and the Vivienne Westwood platform shoes the supermodel was wearing when she fell over on the catwalk in 1993 (courtesy Vivienne Westwood). All images: Victoria & Albert Museum.
Successive sections of the exhibition put into context the supermodel years of the 1990s, her special relationship with designer Azzedine Alaïa – who would become her mentor; how she dealt with serving community service as one of the most famous women in the world, and her pioneering collaborations with top fashion houses.
Her alchemy with the camera is presented through a series of photographs from world-renowned photographers such as Steven Meisel, Peter Lindbergh and David Bailey.
The show also explores how Campbell has advocated for race equality from an early age, joining the Black Girls Coalition in 1989 and fronting the 2007 ‘black issue’ of Vogue Italia among other initiatives. Inspired by Nelson Mandela, she has also become a tireless philanthropist, with her dedication to a number of causes – in particular healthcare and education in Africa and the promotion of young creative talent – still very much part of her life.Top of Form
Naomi: In Fashion V&A South Kensington. Cromwell Road, London SW7 2RL 22nd June 2024 – 6th April 2025| Details and tickets, HERE.
The Alps have become as popular in summer as they are in winter. And it is not only nature and sports lovers flocking to the jaw-dropping European mountain range but also those passionate about the arts. All kinds of cultural festivals take place in the region; classical music, jazz, cinema and much more. Here we have selected four spots where the arts and culture programme stands out this summer. Swap your skis for heels and discover the cultural gems awaiting visitors in this, one of the most beautiful corners of the world.
KITZBÜHEL – Austria
With the advent of the summer, the picturesque Tyrolese town of Kitzbühel becomes a hive of activity with an array of captivating events to suit every taste, including a rich cultural programme.
Elïna Galanča is performing at Classical Music in the Alps. The conductor, Karel Mark Chichon, is also the artistic director of Classic in the Alps, and Elïna’s husband. Photo @ Kitzbühel Tourismus.
Kitzbühel Klassik takes part in early July. From the 3rd to the 5th, the city hosts young Voices of the Future, an opportunity to enjoy performances by the emerging talents from the Opernstudio of the Vienna Volksoper, in a series of captivating concerts at Kitzbühel Klassik in Stadtpark. Admission to these performances is free, offering a delightful cultural experience to the local community and visitors alike.
On 6th July in the evening, the 11th edition of Classic in the Alps will take place, featuring Latvian mezzo-soprano, Elīna Garanča, considered one of the world’s major classical music stars. The combination of an outstanding programme paying homage to Puccini and Maria Callas, an enthusiastic audience, and the stunning mountain panorama will make the evening a unique experience for both artists and spectators.
In August, it is the turn of cinema. Film festival Kitzbühel takes place from 19th – 25th August this summer. Now in its 12th edition, the festival attracts not only filmmakers and stars but also industry experts who come to Kitzbühel to support and enjoy a festival that was created to champion emerging talent, and as such, provides a platform for young directors to unveil their inaugural cinematic endeavours. The festival welcomes a myriad of cinematic expressions, from contemporary to traditional, subtle to overt, and executed in various formats ranging from Super 8 to 35mm.
The elegant resort of Gstaad became the home of legendary violinist Yehudi Menuhin and his family in 1957. That same year, he founded the Menuhin Festival & Academy Festival, which over the years has grown to be one of Switzerland’s premier cultural events, attracting internationally acclaimed musicians and enthusiastic audiences.
The area’s imposing natural environment serves as the backdrop for the festival, which runs from 12th July – 31st August. This year is themed “Transformation” following the “Change” cycle that started three years ago. The thematical concept is explored through various concert series such as Trans-Mission, Transcendence, and Trans-Classics, reflecting changes in environmental, social, economic, and artistic realms.
Highlights include the Carte Blanche Series by renowned violinist Julia Fischer, who curates four special programmes collaborating with other first-class musicians, such as Valerie Steenken, Jonas Kaufmann and Camilla Nylund. Acclaimed pianist, wildlife advocate and human rights activist Hélène Grimaud is performing on three different evenings as well as Yuja Wang, the gifted Chinese pianists best known for her theatrical style.
The Menuhin Festival also includes performances by the London Symphony Orchestra and the Budapest and Gstaad Festival Orchestras, outdoor concerts and educational programmes with renowned artists.
Find detailed information to organise your trip to Gstaad this summer HERE.
VALLE D’AOSTA – ITALY
Nestled in the heart of the Italian Alps, the Aosta Valley is a region famous for its stunning landscapes, rich history, and vibrant culture. In summer, the region hosts numerous cultural events, including two outstanding film festivals.
The Gran Paradiso Film Festival runs 22nd – 27th July in Cogne and in July and August in the valleys of the Gran Paradiso National Park. It is quite a unique festival in the sense that is the only international festival of its kind dedicated to nature cinema. The festival was created in 1984 with the intention of increasing awareness about natural heritage and respect for the environment.
The Gran Paradiso Film Festival takes place against the magnificent backdrop of the majestic Alps.
There are three sections: an international competition open feature films and medium-length films dedicated to nature from anywhere in the world; CortoNatura, open to international short fiction films, short animated films or short documentaries dedicated to nature, in order to increase youth participation to the festival and promoting audiovisual production related to nature; and the cycle of events De Rerum Natura, which borrows its name from the 1st century didactic poem of the same name by first-century Roman poet and philosopher, Lucretius.
More information about the Gran Paradiso Film Festival, HERE.
Known as the Oscars of mountain cinema, the Cervino CineMountain Festival (29th July – 5th August) shares with Gran Paradiso its connection with nature, as it aims at revealing and sharing the relationship between the mountains and the cultures that have lived and live in them. Taking place at an altitude of 2000 metres, Cervino CineMountain is the highest international film festival in Europe.
The Cervino CineMountain Festival aims at increasing awareness about the fragility of the mountains, and how important it is to preserve them for future generations.
The week-long programme offers screenings of films that have stood out the most in international film festivals – festivals which make up the International Alliance for Mountain Film circuit, stretching from Trento to Kathmandu and representing some of the most important film events throughout the world.
Find out more about the Cervino CineMountain Festival HERE.
CHAMONIX – FRANCE
Established in 2010 by internationally acclaimed French-Armenian jazz musician and composer André Manoukian, the Cosmo Jazz Festival is an unforgettable event that blends music and the stunning landscapes of the Chamonix Valley.
From 22nd – 27th July visitors will be able to enjoy free performances and a wide range of traditional and contemporary jazz at unique Alpine venues, such as the Aiguille du Midi, the Brévent Cable Car Station or Lac Blanc.
Como Jazz Festival puts special emphasis on the connection between music and nature. The organisers have gone to great extents to make sure the performances complement the spectacular surroundings. The idea is that after such an organic experience, visitors will be more willing than ever before to join on conservation efforts.
Last but not least, Cosmo also includes a series of cultural events and workshops that give the public the chance to learn and interact with the artists in the festival. Learn more about the Cosmo Jazz Festival and organise your visit HERE.
In the early 1960s, American photographer Joel Meyerowitz helped overcome resistance from black-and-white traditionalists to establish colour photography as a form of art. He is renowned for his ability to capture the essence of urban landscapes and human interactions. This summer, Museo Picasso presents Europa, and exhibition based on Meyerowitz’s travels from 1966 to 1967 through England, Wales, Ireland, Scotland, France, Spain, Germany, Turkey, Greece and Italy, but focusing on his extended stay in Málaga.
Meyerowitz started his journey behind the lens in 1962, working on an advertising project with Robert Frank. During his illustrious career, he published dozens of books and his photographs have appeared in more 350 exhibitions. He received numerous awards and accolades, including the Royal Photographic Society’s Centenary Medal and a double Guggenheim fellowship.
“The experience of making photographs in Europe changed me and gave me the perspective I needed to see myself, and then, when I returned home, to see America in a different way.”
– Joel Meyerowitz
Having left his job in advertising aged 28, Meyerowitz embarked on a year-long road trip that saw him drive 20,000 miles through 10 countries, taking 25,000 shots on the way. The artist settled in Málaga for six months, where he befriended the Escalonas, one of the traditional flamenco families in the city. Meyerowitz took 8,500 photographs in Málaga and captured hours of high-quality sound recordings of live flamenco. This work provides an extraordinary photographic record of Spain during Franco’s dictatorship. Meyerowitz’s time in the Mediterranean city had a lasting impact on his style, and his work redefined how reality can be captured and communicated with a camera.
Inspired by Robert Frank, Henri Cartier-Bresson and Eugène Atget, Meyerowitz’s skilful use of light and colour infused his photographs with a unique sense of mood and atmosphere, whether capturing the soft glow of dawn over the Seine or the vibrant chaos of a Mediterranean market.
Tracing Meyerowitz’s artistic evolution during his time in Europe, this exhibition features vintage and large-format prints in colour and black and white of images depicting local people, unique moments captured in everyday street scenes, urban and natural landscapes, and photographs taken from inside his moving car. Each image is a testament to Meyerowitz’s mastery of his craft. His deep connection to the landscapes he portrays is evidenced by the incisiveness with which he captures their essence. Meyerowitz’s art is in storytelling. His photographs encapsulate narratives frozen in time, inviting viewers to immerse themselves in the sights, sounds and emotions of each locale.
Museo Picasso Málaga. C/ San Agustín, 8. 29015 Málaga 15th June – 15th December 2024 More information and tickets HERE.
British soprano Carly Paoli talks to Lisa Marks about her Italian heritage, her love of Judy Garland and her new role as an ambassador for jewellery brand FOPE.
Carly Paoli is known around the world for captivating audiences with her angelic voice and heartfelt performances. Born and raised in Mansfield, Nottinghamshire, the 35-year-old’s meteoric rise to musical stardom has been marked by her passion and unwavering commitment to her craft.
She was called “the voice of an angel” by Pope Francis after she sang for the Pontiff during his Jubilee year at the Vatican, and has performed with many contemporary greats including Andrea Bocelli, Elaine Paige, Aled Jones and Alfie Boe.
But mention Judy Garland and her eyes light up. In 2020, she performed a tribute to the Hollywood legend as part of BBC Radio’s 2 iconic Sunday Night is Music Night series at the London Palladium. The Wizard of Oz star was a huge inspiration to young Carly and this set her on the road to show business.
“I became captivated with Judy through the MGM Hollywood musicals. Mum introduced me to the film Meet Me in St. Louis when I was around five or six,” she recalls. “It’s still my absolute favourite. Judy was one of those iconic singers who was able to tell a story through song, and whatever she sang she seemed to have an ability to make it her own. She put her heart and soul into everything she did.”
“Growing up, music was always part of the household and it was something that was meant for sharing. It was a joy.”
– Carly Paoli
Carly’s Anglo-Italian mother, Tina, her father, Paul, and her wider family in Puglia were also supportive during her early career and have played a huge role in Carly’s development as a performer. She joined the Stagecoach Theatre Arts drama, music and dance school in Southwell, near her home in Mansfield, where a vocal coach noticed her natural talent. She was advised to take private singing lessons, and after a few years at Tring Park School in Hertfordshire, Carly landed a scholarship to the Royal Northern College of Music. But while all her training was in Britain, her dual heritage loomed large through her childhood.
Carly says: “I was sort of in two worlds. I was living in Mansfield but would spend my summers in Italy. I was 14 when my grandfather took me to a fiesta. It was a three-day festival that’s also a religious occasion, and I performed Ava Maria a capella in church for the whole community. It was just something I did, and I understand now how fantastic it was as a young artist to be able to have that experience.” It was this song that she performed for Pope Francis in 2016 to such great acclaim.
Carly Paoli performing with theatrical director and pianist Jae Alexander at the Crazy Coqs cabaret in Soho, London, April 2024.
Having been immersed in music from such a tender age herself, Carly is keen for younger generations to find classical music. “For me, it’s about finding ways to make it more accessible and relatable,” she says. “It’s lovely when you can translate a piece of Italian music into English because all of a sudden people think, ‘I can hear that it’s passionate, but now I know why it’s passionate.’”
The soprano, who is now based in Wiltshire, says that one of her goals is to move people with song. She visits schools to perform and talk about her music and is often touched by the reaction from children to her voice. “I remember one boy in particular who was autistic. He had a conversation with me afterwards about how he was going to get his grandfather to laminate my autograph,” she says. “It was really special. The teachers later told me he doesn’t talk to people, especially strangers.”
The Movie Collection features 13 songs, chosen by Carly from some of her favourite movies plus abonus song from musical theatre.
Thrillingly, Carly was recently announced as an ambassador for the Italian jewellery brand FOPE. “I love the ethos of the brand, and that it was founded in 1929 and still owned by the same family,” says Carly. “FOPE celebrates great Italian jewellery craftsmanship. They built upon that foundation to create what are considered pieces of art that are still relevant to today. But they’ve maintained their original traditions. That resonates with me as an artist because that’s something I try to do, much like we were discussing earlier about making classical music more accessible.”
Carly has released five albums to date, her most recent, The Movie Collection, came out last year. With so much experience already under her belt the singer says she wants to write more.
“Some of my most rewarding moments have been seeing my words and my thoughts brought to life in song — and being able to perform them is the icing on the cake.”
– Carly Paoli
A busy remainder of the year awaits. She is performing at a few events connected to the 80th anniversary of D-Day in June, has upcoming shows with the fabulous Fulltone Orchestra, Aled Jones and Gareth Dafydd Morris, and is set to support tenor Boe on his UK tour.
With such a busy life, there’s barely a moment to take a breath but Carly is determined to find time to visit her home in Italy and catch up with family — and is set to perform at the famous basilica in historic Galatina near Puglia. It will be a joyful experience because the region is her “happy place”.
“Puglia has always been where I spend my downtime, and there are people I know there who have been my friends since childhood. The food is fantastic, there’s a real community spirit and a lovely rhythm of life,” she says. “I’m proud of my Italian heritage, but I’m equally proud of my British roots, as well as coming from Mansfield.”
Opening image: Carly Paoli wears FOPE Eka gold Flex’it chokers, Panorama You ring and Flex’it gold bracelets with diamonds. Barbour waistcoat and shirt. First image in an interview: Carly wears Fope Super Eka diamond earrings and necklace, Panorama Flex’it white gold and diamond ring, and Panorama and Super Eka diamond bracelets. Huishan Zhang dusty pink gown. Last image in interview: Carly Paoli wears FOPE Eka gold Flex’it chokers, Panorama You ring and Flex’it gold bracelets with diamonds. Barbour waistcoat and shirt. Holland Cooper trousers. House of Bruar boots. Photographer: Catherine Harbour. Stylist: Karl Willett.
The starting point of the “Bentley Boys” era at Le Circuit de la Sarthe
From the three Bentleys that took part in the Le Mans race in 1927, only one, “Bitch”, is still “alive”. Its current owner, Michael Dacre, has been invited by Concours d’Elegance Villa d’Este to enter it in the Dawn of the Performance Age Class A competition. Here we share with you the story of this extraordinary car.
HEROICS AND VICTORY
There were three entrants from Bentley Motors at the 1927 Le Mans, affectionately named “Snitch”, “Witch”, and “Bitch”. Around 9.40pm, just as night was settling across the circuit, a back-marker car was pushing to make up time, when it spun at the Maison Blanche (“White House”) chicane approaching the pit straight.
Start of the Le Mans 24 Hours race, 1927. At the time, drivers had to run to their cars as the flag went down.
The two lead Bentleys (Snitch and Bitch) crashed into a ditch while avoiding the stricken car and were out of the race. Other competitors suffered a similar fate and a pile-up resulted. When Sammy Davis arrived in Witch, he found the road completely blocked so rather than hitting the stationary cars head-on, Davis put his Bentley into a slide and struck them sideways.
As the remaining competitors drove past, Davis rescued his teammates and the other drivers, making sure all had survived, and then, untangling his Bentley from the wreckage, limped back into the pits. All seemed lost. Despite W.O. Bentley’s remonstrations, Davis insisted that he could continue the race. According to the rules at the time, only the driver was allowed to repair the damaged vehicle, so with the advice of the mechanics, he was able to get it moving again.
The remaining Bentleys continued to race despite the handicap. Having worked its way gradually through the field, at around 2.30pm on the second day, the Bentley driven by Davis and Benjafield found itself in first position and held on to it until the chequered flag came up, securing the most famous victory yet for the British manufacturer.
Bitch being closely followed by Witch at the 1927 Le Mans. Bitch would end up in a ditch with team mate Snitch after trying to avoid an earlier crash. Witch circumvented it, stopped to help, and went on to win the race.
The win ingrained the Bentley marque in the national consciousness. The dramatic events surrounding the Maison Blanche crash and Davis’s honourable and heroic actions were immortalised in the press and were the stuff of “boy’s own” stories in comics. The team were greeted as national heroes and The Autocar magazine fuelled the Bentley team’s reputation further by hosting a grand post-race party at The Savoy Hotel, London, where the winning car was the guest of honour, brought in by removing the back doors to the hotel.
Of the three Bentleys that raced in 1927, Snitch appeared at Le Mans again in 1928 and in subsequent years, eventually becoming “Old Mother Gun”. Witch was bought by Dr Benjafield and he continued to race her, eventually ending its days in a crash with a lamp post in New York in the 1940s. Bitch lived on.
RESTORATION AND REWARD
True restoration is, by its nature, obsessive, it becomes an overarching desire. Restoring one of the Bentleys from the 1927 race, establishing a complete provenance and history surrounding the car, has been the driving force for two vintage Bentley enthusiasts over the past quarter of a century.
Left: front cover to The Hornet comic, January 19, 1964, extolling the victory of the Bentley Boys at Le Mans in 1927. Right: the only eyewitness account of the crash at White House, immortalised by Sammy Davis in this painting.
When Bob Moggeridge bought Bitch at auction in 1997, it hadn’t even crossed his mind to recover the history of car or that of its owners, let alone compile the details of the 1927 Le Mans race. He pointed out that “If somebody had given me a cardboard wallet with 10 photographs and some information in it, I would have probably accepted that and never given it a second thought, but, because the car had nothing with it and the previous guy had had it for 50 years, I reasoned that there should be some material out there.”
After crashing at Le Mans, Bitch was repaired and went on to have several owners, among them Sub Lt H Kidston (brother of Glen Kidston). In 1997, it was sold at a Brooks auction to R. A. “Bob” Moggeridge.
After acquiring Bitch, Bob did 10 years of research followed by a decade of restoration work. Most components are original, and all parts have the necessary matching serial numbers. Knowledge of the famed true colour of the racing green livery came from tracing the old paint manufacturer and matching records with vintage colour charts. Some of it was detective work and some of it was pure luck. For example, Kennard’s papers were found at a GCSE student’s art exhibition entitled Things I found in a skip, exactly where the box had been placed before the industrious scholar found it. Bob even acquired paintings by Sammy Davis from his memories of the crash. Davis had been an art student before a racing driver and a journalist.
Bob Moggeridge next to Bitch (YF 2503) and Mike Dacre next to a Blower Bentley (GH 6951) at Brooklands Circuit, 2021.
Bitch became life-defining, but Bob has no regrets. “It was an obsession, but also so much fun! Meeting with people, driving to their houses or talking to them on the phone would lead me to the next person and then to another. I received lots of candid photographs thanks to these encounters and conversations.”
Before selling Bitch, Bob had the chance to drive at Le Mans at the Centenary Celebration of Bentley in 2019. Over 90 years since it crashed, Bitch winged its way around the Circuit de la Sarthe once more with the man who had restored it to original form. It was a fitting tribute to both history and renewal, and obsession rewarded.
A NEW CHAPTER
Due to ill health that prevented Bob from driving, he decided to sell. The question was to whom. It was not to be sold to a museum or for parts or for someone to place in an exhibit. As so often happens in such circumstances, it was chance that led Mike Dacre to meet Bob and see Bitch.
The introduction was made by a mutual friend and vintage car dealer. With a wry smile, Mike explained “I went down to meet Bob and I just was not able to take it in or comprehend what was in front of me. I just could not believe how good the car was kept or its history, let alone all the memorabilia Bob had gathered over the years.” Mike was certainly impressed with the importance of Bitch and its history, “Driving Bitch at Brooklands was a real goosebumps moment,” he recalls rubbing one arm.
Mike intends to make his own contribution. “I want to continue what Bob started,” he shares. “The plan is to use the car. What I don’t want is, in 20 or 30 years from now, realise that we broke the chain and let things slip. This is a story that started in 1927 and I feel it’s my responsibility to complete and maybe add to it. I want to make sure Bitch is seen, appreciated and driven., which is, after all, the best part.”
Mike has already started his contribution. He recently found one of Sammy Davis’s racing helmets, which is fitting, since he wrote under the pseudonym of “Casque” (French for helmet), along with an original book of cartoons where Davis made light of the dangers and the implications for drivers at the 1927 race.
With a change of ownership has come a change of protocol. As well as driving the car in vintage rallies, Mike’s young family are very much involved. Bitch has become part of their family adventures, once again a memory maker, almost Fleming-esque in its form: a former race car that crashed; that was nearly a casualty of war; returned to her former glory when she flew the Circuit de la Sarthe at the prestigious Le Mans 24 Hours; now completely restored.
Ever since, Bitch has added many other prizes to its long list of accomplishments, among them, the Fledgling Trophy from the Benjafield Club at the Centenary Le Mans Classic, 2023.
Words: Andrew Hildreth
This article is a summary of the whole story of Bitch, published in our Spring 2022 issue, available HERE. You can also learn about Bitch racing at the Centenary Le Mans in our Winter 2023 issue, which you can purchaseHERE.
Contemporary hyperrealist artist Adam Attew grew up in the Surrey Hills, known by the Victorians as “Little Switzerland” for its resemblance to the landscapes of the lower regions of the Alpine country and the purity of its air. He started to paint as early as he started to ski, at the age of two. He then combined both – mountains and canvases – in the late 1990s.
Attew spoke to our Editor-in-Chief, Julia Pasarón at the Hotel Grace La Margna in St. Moritz, where he was staying as Inaugural Artist in Residence, supporting the Swiss branch of the global non-profit organisation, Protect Our Winters.
He has been drawn to this part of the world – both in winter and summer – since he was a small child. Over the years, Attew saw first-hand the effect of global warming in these majestic mountains. “I’ve been coming to the Alps since the ‘70s,” he says. “I remember skiing on the glaciers of Chamonix, which used to cover an area much larger than they do now.” Attew is right. Global warming is having a catastrophic effect on the Alpine glaciers. Research shows that in the 20th century, the temperature in the Alps has risen by 2°C, at a rate of 0.5°C per decade since the 1980s. The consequences are disastrous, not only for the glaciers themselves but also for the species that have made these mountains their home. To give you an idea, for every increase of half a degree, wildlife must move 100m higher to find a cooler temperature.
Attew’s interest in painting mountain landscapes turned to the Alps in the early 2000s, exploring oils as the medium to represent them. “I had always been a little scared of oils but I soon fell in love with them, with their malleability and the endless possibilities they give to the artist,” he shares. Now, he uses nothing else.
For a long time, he had been toying with the idea of working with a charity or non-profit organisation. His environmental consciousness and love for the mountains drove him to approach Protect Our Winters Switzerland (POW). It focuses on four main fronts: on one side, mobility and nutrition (two of the sectors responsible for the highest emissions of CO2); and on the other, advocacy and education. At the heart of POW, there is a group of outdoor enthusiasts committed to protecting the precious winters that define the region’s allure. “After decades of enjoying them, I wanted to give something back to the Alps,” Attew says.
At Grace La Margna, he made the main lounge (The Living Room) his atelier, which gave him the opportunity to talk to guests and spread the POW message. “I was surprised by the interest people have been showing,” Attew admits. “Some guests have come to speak to me more than once, genuinely interested, and are very pleased that part of the money they spend when purchasing one of my paintings is donated to POW.”
Climate change in the Alps doesn’t only affect the wildlife or the length of the ski season, but also the safety of the mountains. Attew warns, “The risk of avalanches is now so acute, that you don’t dare to go off-piste anywhere, unless it’s with someone who knows that specific location like the back of their hand.”
The fragility of this environment acts as further encouragement for Attew to capture its beauty. “It is getting harder and harder to find the pristine landscapes I like to paint,” he says. “For example, trees covered in snow; the chances to catch them get slimmer every year.”
“The hope is that, together with an appreciation of my paintings and of the beauty of the landscapes they feature, the viewer will feel the desire to protect them.”
– Adam Attew
Looking at his hyperrealist depictions of snow-capped peaks against intense blue skies, I understand why guests at the hotel engaged so much with him. Attew’s paintings literally stop you in your tracks, they are that impactful. His use of deep colours, contrasting textures and abstract contours result in spellbinding pieces of art that go far beyond what a camera could convey.
Having the chance to work and show his art at Grace La Margna has done wonders for POW’s exposure. “Most people I have spoken to here hadn’t heard of the organisation before,” Attew explains, “so I am very glad to be able to help.”
Credit is due to the hotel too. General Manager, David Frei, says, “Adam Attew’s art captures the beauty of the mountains that surround us very vividly; so, we knew that his presence at the hotel would engage our guests. We are also thrilled that through this partnership we can work with POW Switzerland to promote the great work it is doing.
“I feel motivated by the response I have seen during my time as artist in residence here at Grace La Margna.”
– Adam Attew
Attew is committed to his role as an agent for positive change. “I want to do more to help raise funds and awareness for POW,” he comments with conviction. “It’s not just the painting that I love, but also meeting so many people who appreciate the mountains.”
It has been enlightening to speak to Attew and learn about this innovative collaboration that will hopefully set a precedent for future initiatives at the intersection of art, hospitality and environmental responsibility.
The Michelangelo Foundation brings the Homo Faber fellows to London’s artisan festival
Jaeger-LeCoultre and the Michalengelo Foundation come together at London Craft Week 2024. The week-long festival (13th-19th May) celebrates the best of British and international crafts, attracting hundreds of artists, artisans, brands and galleries from around the world.
For the best part of two centuries, Jaeger-LeCoultre has been championing innovation and creativity, producing extraordinary and iconic timepieces which earned the company the moniker of “the watchmaker of watchmakers”. The Michelangelo Foundation is committed to backing contemporary craftspeople worldwide with the aim of promoting a more human, inclusive and sustainable future.
At London Craft Week 20204, the Foundation is presenting the work of the twenty duos of artisans – master and apprentice – who took part in the first edition of the Homo Faber Fellowship, an international education programme supported by Jaeger-LeCoultre. Vincent Satiat, UK & Ireland brand director comments, “Throughout its history, Jaeger-LeCoultre has created unique ties with artisans and the craftmanship communities around the world. We are committed to nurture and develop the talent of tomorrow. The Homo Faber Fellowship programme resonates perfectly with this aim of developing young artisans and perpetuating know-how through generations.”
Coming from six different countries in Europe, the twenty objects resulting from the months these duos worked together will be on show at Cromwell Place from the 14th – 18th May. From textiles to wood marquetry, ceramics, sculpture, silversmithing, basket weaving and even feather working, the breadth of the works exhibited are testimony to the talent, creativity and imagination of the artists involved. Gonzalo García Cuevas, who worked with master of gold thread embroidery, José Luis Sánchez Expósito, considers the overall Homo Faber fellowship experience as “A unique opportunity to get to know and value myself and appreciate the skills I’ve developed so far. At the end of the day, we are the only ones that walk the whole path of our lives. The best is still to come.”
Master silversmith, Séamus Gill with Claire Mooney. Together they created an Art Deco inspired silver tea service applying the techniques Claire had learned with Gill.
Irish master silversmith, Séamus Gill, was paired with Claire Mooney, who worked at his studio for six months. “I was able to teach her some new skills, shares Gill, “but most importantly for a graduate is to practice and develop their skills immersed in a fully fitted workshop. I hope what Claire learnt with me will enhance and develop her work long into the future.”
On Wednesday and Thursday next week, Jaeger-LeCoultre will join in the celebrations of craftsmanship by showcasing its watchmaking expertise at its boutique in 13 Old Bond Street. No appointment is required. “We invite you to join to meet our in-house enameller performing live micro-painting. He will be decorating the case back of our iconic Reverso, to create unique pieces of art.
The Reverso has always been a canvas to express the creativity and skill of the Jaeger-LeCoultre master watchmakers and artisans.
The Reverso was first launched in 1931 for polo players, who needed to protect the dial of their watches from the multiple impacts they were exposed to. Its unique design offers a wider variety of personalisation options using the most beautiful techniques, two of which, engraving and miniature enamelling require an incredible amount of skill.
As it does gold thread embroidery, the discipline in which José Luis Sánchez Expósito – founder of Bordados Santa Clara, Sevilla – is an irrefutable master. For over 25 years, he has been working with silk, gold and silver thread producing stunning creations for clients as diverse the Catholic Church and the Royal Household. However, most of his customers seek his wedding dresses and black-tie outfits as well as soft furnishings and other decorative objects produced at Bordados Santa Clara.
For the Homo Faber Fellowship, Sánchez and his apprentice, Gonzalo García Cuevas, created an exquisite handbag made of silk velvet and leather, embroidered with gold and finished with appliqué of silver, gold and gemstones. About this unique piece being exhibited during London Craft Week, Sánchez comments, “This could be the springboard this niche craft needs to get visibility at an international level. Without this kind of exposure, rare crafts may go extinct.”
“The Michelangelo Foundation made it possible for Gonzalo to come and work with us. It has been a pleasure teaching someone so eager to learn.”
– José Luis Sánchez-Expósito
García had wanted to learn from Sánchez for a long time, but the legal and financial requirements to have an apprentice made it unavailable to Bordados Santa Clara. Thankfully, the Michelangelo foundation made it happen. “It has been a great and satisfying experience to teach this skill to a young artisan,” says Sánchez, “when I started, there was no place where I could go to learn.”
For his apprentice, this has been an unforgettable experience. “I’ve met wonderful people from different disciplines. Working with José Luis [Sánchez] has helped me to bring out my artistic side.”
As rare as Sánchez’s craft is that of Julien Vermeulen, one of only 12 master feather artisans in France. Since he started working with this ethereal material in 2013, he has extended this craft well beyond the realm of fashion and into other areas, such as furniture and design objects.
Julien Vermeulen with Homo Faber fellow, Matéo Laurent, from the Ecole Nationale Supérieure des Arts Decoratifs in France, and the fruit of their collaboration, Eclipse.
These are just three of the 20 duos sponsored Jaeger-LeCoultre through the Michalengo Foundation’s Homo Faber Fellowship that will be on show at the Cromwell Road Gallery during London Craft Week. It promises to be a one-of-a-kind show. Don’t miss it.
Words: Julia Pasarón
Opening image: Gold embroidery master, José Luis Sánchez Expósito, and Homo Faber Fellow, Gonzalo García Cuevas.
Tate Modern, in collaboration with Lenbachhaus Munich, has curated an exhibition that stands as a true testament to The Blue Rider (Der Blaue Reiter), a movement key to the development of German expression. Revolving around Wassily Kandinsky and Gabriele Münter, this group of artists also encouraged, nurtured, and expanded the movement of abstract painting in modern art throughout the 20th century.
The Blue Rider intended to create a modern spiritual form of art, hoping for it to surpass the constraints of representation. They published their ground-breaking Almanac in 1912, edited by Kandinsky and Marc, and stage key exhibitions in 1911 and 1912. They wanted to bring together artists from all parts of the world, proclaiming that “Art knows no borders of nations, only humanity.”
Visitors to the exhibition will be greeted by a group of vibrant portraits and self-portraits from pre-First World War Munich, where Kandinsky and Münter resided, a time of hustle and bustle for artistic lovers, that allowed for a variety of cultures to amalgamate.
Münter’s innovative style can be appreciated through paintings such as Listening (Portrait of Jawlensky), 1909. She stood out by her honest depiction of humanity, her works always infused with a certain sense of intimacy. The simplicity of her paintings is capitalised by the use of energetic colour. With this technique, the artist is encouraging viewers to appreciate an image at face value, suggesting not all art must have a definite meaning. Erma Bossi’s evocative Circus, 1909 is an an action-filled scene bursting with colour.
Kandinsky too is in favour of vibrant colours as conveyors of emotion, such as in his painting Johannisstrasse from a window of the Griesbrau. There is an ambiguity behind his work that encourages individuals to delve more introspectively into their own psyche, discovering thoughts from beyond.
In Murnau Farmer’s wife with children, Münter tactfully chooses an alternative colour palette to depict an image of a distressed mother with her children.
Münter and Kandinsky’s art reflecting their spell in Munich is contrasted to a slower time in Murnau, a rural town where they resided in 1909. They fell in love with the idyllic landscape and began to collect Barvarian folk art. It is here that they embarked onto a new approach in both abstract and figurative painting, represented in the show by works such as Munter’s Murnau Farmer’s wife with children. The bright pink and yellow colours used on the younger child gives her almost an angelic look, emphasising her innocence. As opposed to the mother with sunken cheeks and dark colours. The middle child does not have a look of naivety but a look of knowing, as if she is aware of her mother’s distress.
Meanwhile, other artists such as Franz Marc explored the natural world, with works such as Tiger and Cows, Yellow-Red-Green, both from 1912.
Franz Marc’s, Cows, Red, Green, Yellow, 1911, Lenbachhaus Munich; and Tiger, 1912. Lenbachhaus Munich, Donation of the Bernhard and Elly Koehler Foundation,1965.
Other rooms in the exhibition allow visitors to share the fascination of modernism with colour, sound and light through very different works, such as Kandinsky’s Impression III (Concert), 1911, derived from his interest in synaesthesia; and Franz Marc’s 1911 Deer in the snow II, which is experienced optically whilst surveying the colour theory.
The show finishes by explaining how The Blue Rider group ensured they would leave a mark in history, through manifestos, editorials, exhibitions and fostering relationships with museums and galleries.
Although the First World War led the group to disperse, it does not extinguish their significant impact on abstract art, expressionism, and modernism.
Expressionists: Kandinsky, Münter and the Blue Rider Tate Modern, London 25 April – 20 October 2024 Book your tickets HERE.
In a sense, it was a quieter year for Patek Philippe, but that does not mean the watches presented were not superlative. Along with a Rare Handcrafts Exhibition at their Geneva boutique and the integration of the crafts into the watches released at Watches & Wonders, this was a year aimed more at the collector and cognoscenti, with new versions of well-loved classic models, a celebration of their ladies’ line, and a re-generation of a much-loved mid-20th century design.
As part of the Rare Handcrafts theme, there was an exhibition at the main Geneva boutique which demonstrated the extent of artistic endeavours that the company’s artisans can realise. A number of different metiers d’art were on display, from guilloché to enamelling, gem-setting and engraving.
One of the stars of the Rare Handcrafts Exhibition, a Patek Philippe Calatrava metiers d’art with a wood marquetry image of Morning on the Beach.
Out of all of the watches shown, my favourite was the Calatrava ref. 5089G Morning on the Beach, an innovative juxtaposition of a centuries-old art form and a modern pictorial setting, which also represents a different aesthetic by Patek Philippe. Marquetry is the painstaking use of coloured wood varieties, taking into account the vein and how they can cut, assemble, glue and place each tiny piece of veneer for use in the composition. In this instance, the grain of the wood, used horizontally, depicted the waves in the water; the grain, used vertically, reflects the upright surfer as he walks across the beach.
Traditionally used in furniture, its use in watchmaking is fairly recent and pioneered by Patek Philippe. In this instance, 100 veneer parts and 75 inlays comprising 23 species of coloured wood, show a surfer on his way to the waves. The case is white gold with a hinged back cover that opens to the brand’s ultra-thin automatic calibre 240. If I could have only had one watch to take home with me this year, then this would have been it. As a former resident of the city, it reminded me of mornings in Los Angeles. A limited edition of 10 pieces and POA.
Left, Patek Philippe advert for the new Ellipse circa 1971, showing the intended customer profile. Right, the new ref. 5738R Ellipse.
The new rose gold Ellipse has all the hallmarks of the late 1960s icon, with all the benefits of a new movement and re-worked bracelet. The Ellipse was introduced in 1968, with the references 3546 and 3548, as the company needed a new watch design that was both immediately recognisable as a Patek and unisex in its appeal. Something that would be distinguishable from any other watch. The Ellipse became the symbol of 1970s jet set international chic. It featured in most of the company’s advertising from the late 1960s through the early 1980s, becoming a success in the process. In total, over the years, the number of Ellipse references – 65 in total – even eclipses the number for the Calatrava.
The contemporary shape of the watch owes more to the Jumbo Ellipse ref. 3605 introduced in 1971 with an automatic calibre 28-2555C. The new ref. 5738R has the same oversized rectangular round case shape with an intricate bracelet in the same metal. Powered by the modern automatic calibre 240, it is every part the modernised successor to the quintessential 1970s classic.
Subtle improvements have been made to the bracelet, where 300 of the 383 links are polished and assembled by hand. Reminiscent of the traditional Frères examples of the past, it adds flexibility and ergonomics to how the watch sits on the wrist. With all gold case and bracelet watches making a marked return, the modern Ellipse is as avant-garde and modern today as it has always been.
The 25th Anniversary Patek Philippe Twenty~4 with the purple concentric wave pattern dial and two-tier case lined by two rows of diamonds.
Of equal standing is the Patek Philippe Twenty~4 collection, introduced in 1999, which is celebrating its 25th anniversary. The new version of the quartz cuff-style model features a highly refined dial embossed with a concentric wave pattern, coated with successive layers of a translucent purple lacquer, which, once polished, creates a beautiful depth effect. The original shape of the rectangular two-tier case is highlighted by two rows of 17 brilliant-cut diamonds set on either side of the dial.
New Patek Philippe Grand Complications. From left to right, Perpetual Calendar ref. 5236P, Alarm Travel Time ref. 5520R and Rare Handcrafts Retrograde Perpetual Calendar ref. 5160R.
For the purist collectors, there were three stunning versions of Patek Philippe grand complications; that sweet spot that the Geneva Maison knows so well. First, a peerless new Perpetual Calendar, ref. 5236P. Initially introduced four years ago with a blue dial/white gold case combination, the reference is now clad in platinum with a rose-gold gilt salmon pink dial. Second, the quintessential travel watch, the Alarm Travel Time ref. 5520R, which now comes in a two-tone version with a rose gold case featuring four white gold pusher tubes and a sunburst grey dial. Third, and part of the Rare Handcrafts work, a Retrograde Perpetual Calendar ref. 5160R with a silvery opaline dial, in an Officer’s-style case with a hinged cover and hand-engraved decoration throughout, inspired by a pocket watch from the Patek Philippe Museum.
The two new complicated watches released this year, the ref. 5330G World Time (left) and the ref. 5396 Annual Calendar (right).
Patek Philippe continued their tradition with the World Time complication (patented ref. 5330G). Originally released as a limited edition for the Patek Philippe grand exhibition Watch Art held in Tokyo in June 2023, the new calibre is now part of the regular collection and ingeniously has a date display synchronized with local time – the one indicated by the centre hands on the dial. Also in the complications category, Patek Philippe released a sublime new version of the ref. 5396 Annual Calendar in white gold, featuring a sunburst blue dial with black-gradient rim, discreetly enhanced by the brilliance of twelve baguette diamond hour-markers.
The two new Aquanaut watches, the ref. 5164G Travel Time (left) and the ref. 5268G Rare Handcrafts gem-set Aquanaut Luce (right).
Finally, the other collections with new references were the Aquanaut and Nautilus. In the former, there were three new iterations, a white gold opaline blue-dialled ref. 5164 Travel Time, a Travel Time ref. 5269 in a rose gold case, featuring a similar hue on its dial, but with a quartz movement, and an Haute Joaillerie white gold Luce model, ref. 5268G, that was part of the Rare Handcrafts Exhibition. The Nautilus ref. 5980G, a self-winding flyback chronograph, comes in a white gold version, also with an opaline blue dial.
Patek Philippe’s Rare Handcrafts exhibition is coming to London from 7th – 16th June at the Patek Philippe Bond Street salon.
Words: Dr Andrew Hildreth
Opening image: detail of the dial for the Calatrava ref. 5089G Morning on the Beach.