The artistry will be glittering at the second edition of the Dance Reflections by Van Cleef & Arpels Festival, which runs in London from 12th March to 8th April at the Royal Ballet and Opera, Sadler’s Wells, South Bank Centre and Tate Modern.
Following on from the hugely successful inaugural event in 2022, this iteration of the festival created in partnership with the world-famous French luxury jewellery company features 15 dazzling shows from a whole gamut of different cultures.
Taking place at iconic venues in our capital city, Dance Reflections showcases artists who, in the words of Catherine Renier, President & CEO of Van Cleef & Arpels, have specialised in, “Collaborations with prestigious partners, contributions to major choreographic events, support for emerging and touring artists… These various commitments, in keeping with the values of creation, transmission and education dear to the Maison, all meet the same objective of celebrating contemporary choreographic art.”
Including repertory works, dance workshops, artist forums and awareness-raising initiatives, all emphasising the connections between dance heritage and modern choreography, the festival highlights imaginative ways in which dancers have evolved exciting new…
A tribute to the work of one of the fundamental figures of French Modernist painting
After three years in the making, the Amar Gallery is bringing to London Hélène de Beauvoir: The Woman Destroyed, a unique exhibition featuring paintings and works on paper from the 1950s to 1980s by this French artist, crucial to the feminist movement. Often overshadowed in the past by her older sister, Simone – the groundbreaking […]
Despite being separated in time by nearly 200 years, Sigmar Polke felt a deep admiration for Francisco de Goya. The show at Museo del Prado, Sigmar Polke. Affinities Revealed, explores how the Spanish master influenced the work of the German painter, after he saw for the first time Goya’s Time and the Old Women in […]
Victoria & Albert Museum. London 2nd February – 14th July Words: Francesca Fearon
In 1947, Christian Dior changed the face of fashion by creating the New Look, a flattering female silhouette that defined fashion for the 1950s and endures as an influence on designers today. However, who knew that the French couturier was an anglophile who wore Savile Row suits, loved the monarchy, English politeness and even had a fondness for British post-war cooking.
Adapted from the sell-out exhibition held in Paris last year, this comprehensive retrospective has a distinctly British flavour. The V&A has added fresh elements from its own archives that explore the designer’s fascination with British culture. He held fashion shows at the Savoy and Blenheim Palace and dressed notable British clients such as the ballerina Margot Fonteyn and the author Nancy Mitford. A highlight will be the Christian Dior dress worn by Princess Margaret to her 21st birthday party, seen together with her portrait by Cecil Beaton.
Christian Dior with model Lucky, circa 1955. Courtesy of Christian Dior
The exhibition, supported by Swarovski, looks at Dior’s life (he died in 1957) and at the inspiration and craftsmanship of the House over 70+ years. It features designs by the six subsequent artistic directors including Yves Saint Laurent (who succeeded Dior), John Galliano and Maria Grazia Chiuri and offers a look inside the ateliers where the magic is performed.
London Art Fair will return to the UK capital from 16-20 January, opening the 2019 international art calendar. Featuring around 130 of the best galleries from around the world, London Art Fair provides a unique opportunity to discover exceptional modern and contemporary art from the 20th century to the present day.
Sitting alongside the main fair are curated sections offering a critical look at innovations in the contemporary art world. Art Projects offers a platform for the next generation of artists and gallerists from around the world, with a particular focus this year on Latin America, whilst Photo50 showcases current trends in contemporary photography, this year exploring notions of the Family. In 2019, London Art Fair introduces a brand new section – Platform – which this year is dedicated to the medium of ceramics.
Sarah Monk Fair Director.
Since taking over as Director of London Art Fair in 2013, Sarah Monk has overseen the introduction of three key elements of the Fair – it’s annual Museum Partnership, offering a platform in the UK capital for exceptional regional collections, Dialogues, a section bringing together international galleries to create innovative shared presentations, and Platform – a new section for 2019 that will based on a different theme each year. First up is ceramics.
Sarah Monk said: “Each year, London Art Fair continues to evolve in order to stay relevant and to continue attracting and exciting collectors and visitors. Whilst we still provide a home for outstanding Modern British art, we have an increasingly international and contemporary outlook, with new galleries from around the world expanding our offer and reach. What’s more, we are pleased to announce Platform as the latest addition to the Fair’s critically-acclaimed line-up of curated sections in 2019.”
Dialogues – Jesse Fernandez Francis Bacon 1978 “Estate France Mazin Fern” Courtesy of (S)ITOR
Art Projects & Dialogues Art Projects returns to London Art Fair 2019, offering a platform for emerging galleries to showcase the freshest contemporary art from across the globe. Now in its 15th edition, the section will bring together 33 galleries from 11 countries showcasing the most stimulating and innovative contemporary art practice today. Included in Art Projects are six unique collaborations, known as Dialogues, with pairs of galleries invited to display their artists in conversation with each other. This year’s Dialogues is curated by Kiki Mazzucchelli and focuses on correspondences between the work of contemporary artists from Latin America and Europe.
Mar Saez Untitled – The Series Vera y Victoria
Photo50 This year’s Photo50 exhibition, Who’s looking at the family, now?, curated by Tim Clark, will engage with fundamental questions about family life, its dynamics and complexity, as represented by a group of contemporary photographers and artists working in the UK and internationally. 2019 will also mark twenty-five years since British curator Val Williams’ seminal exhibition, Who’s looking at the family? which opened at the Barbican in 1994, offering the opportunity to consider the multifarious changes, both to notions of the family and photography, that have taken place during this time. The exhibition will feature acclaimed British and Irish artists David Moore, Trish Morrissey and Léonie Hampton alongside artists on display for the first time in London.
John Nash Disused Canal Wormingford Essex 1940’s from Towner Collection
Museum Partner For the 2019 edition, London Art Fair has partnered with Eastbourne’s Towner Art Gallery to present The Living Collection, an exhibition that celebrates the gallery’s rich heritage of collecting, exhibiting and championing contemporary art for almost a century. The exhibition will feature significant works by renowned modern and contemporary artists, including: Eric Ravilious, Edward Bawden, John Nash, William Nicholson, Duncan Grant, William Gear, Gertrude Hermes, Tirzah Garwood, and Wolfgang Tillmans. The exhibition will also highlight the role of Sussex as ‘The Artists’ County’, a place of inspiration which has a nurtured artists and makers throughout history.
Tom Kemp Vessel Wheel Thrown 2018
Platform Platform is a new section or the Fair for 2019, focusing on a single distinct theme every year, be it an artistic medium or movement or a geographical or cultural exploration. For the 2019 edition, ‘Platform’ explores the expansive territory of Ceramics, which have been experiencing something of a revival in recent years. Whether taking the shape of a functional vessel or more sculptural ceramics, Platform brings to the fore significant names alongside some of today’s most exciting emerging makers.
Talks and Tours London Art Fair’s programme of daily talks, tours and performances will provide a topical look at the art market and artistic practice today. The programme offers an opportunity to hear directly from artists, curators and industry experts on current trends – from the critical relationship between art and finance to new ways to collect digital art.
Natural History Museum, London. Until 30th June By Rebecca Dickson
Now in its 54th year, the Wild Life Photographer of the Year Awards are the longest running and most prestigious nature photography awards in the world. Showcasing the very best nature photographs from over 45,000 entries, this truly global competition attracts entries from nearly 100 countries. The exhibition, which will be seen by millions of people around the world, encourages the public to see nature photography as an art form, drawing our attention to the beauty that surrounds us.
From the thousands of entries, only one hundred images have been chosen to be exhibited. This extraordinary collection explores the natural world from a micro-shot of an iridescent clam, to the beautiful human quality found in an image of socialising penguins, or the tragedy of a starving polar bear, that hauntingly reminds us to act before the impact of our species becomes irreversible. This competition and exhibition share their ethos with the museum and Ørsted, one of the sponsors, a Danish green energy company who believe that we are simply custodians of the earth and it is our responsibility to protect our blue planet.
This year, we, the public, get to vote on our favourite image from 25 of the thousands of original entries by visiting here. The winner will be awarded the LUMIX People’s Choice Award, which is supported by Panasonic, the developer of the LUMIX camera. We have until the 5 February 2019 to cast our vote. The shortlisted images are on display at the Wildlife Photographer of the Year exhibition until the exhibition closes on 30 June.
The top five LUMIX People’s Choice Award images will also be displayed online at wildlife photographer of the year (link) joining the 100 – strong winning portfolio selected by the panel of judges. Ian Owens, The Director of Science at the Natural History Museum and member of the judging panel, said, ‘Inspiring audiences to connect with the natural world is at the heart of what we do as a museum, and that’s why we’re so proud to run this competition. The LUMIX People’s Choice Award is special to us because it gives the public the chance to choose the winner, and I’m looking forward to seeing which of these beautiful photographs emerges as the favourite.’
Ice and Water by Audun Lie Dahl, Norway The Bråsvellbreen glacier moves southwards from one of the ice caps covering the Svalbard Archipelago, Norway. Where it meets the sea, the glacier wall is so high that only the waterfalls are visible, so Audun used a drone to capture this unique perspective. DJI Phantom 4 pro + 24mm lens; 1/120 sec at f 6.3; ISO 100. Panorama of 3 images.
Curious Encounter by Cristobal Serrano, Spain Any close encounter with an animal in the vast wilderness of Antarctica happens by chance, so Cristobal was thrilled by this spontaneous meeting with a crabeater seal off of Cuverville Island, Antarctic Peninsula. These curious creatures are protected and, with few predators, thrive. Canon EOS 5D Mark IV + Canon EF 8-15mm f4L Fisheye USM lens; 1/250 sec at f8; ISO 160; Seacam housing and flash.
The Extraction by Konstantin Shatenev, Russia Every winter, hundreds of Steller’s sea eagles migrate from Russia, to the relatively ice free northeastern coast of Hokkaido, Japan. They hunt for fish among the ices floes and also scavenge, following the fishing boats to feed on any discards. Konstantin took his image from a boat as the eagles retrieved a dead fish thrown onto the ice. Canon1DX + EF300 f4IS USM lens; 1/1250 sec at f13; ISO800.
Portcullis House, Houses of Parliament Until 14th February 2019
By Lavinia Dickson-Robinson
100 years ago on the 14th December, women first casted their vote in the 1918 general election. A photographic exhibition commemorating this special anniversary has just opened in the Houses of Parliament, at Portcullis House.
The 209 photographs are of all 209 serving female MPs taken by female photographers. We see our female MPs as never before, some at their desks, other deciding to be photographed in their constituencies. All the images are striking, all of them are a celebration of women.
This all female initiative pays homage to the suffering and sacrifices that so many women made to ensure that every female in this country had the right to vote. Emmeline Pankhurst championed the suffrage movement, with women finally getting the vote in November 1918. A year later, Constance Markievicz became our first female MP. Helen Pankhurst, great granddaughter of leading suffragette Emmeline Pankhurst said:
‘This exhibition, 209 Women, is an opportunity to have all current women MPs overlook Portcullis House, an integral part of the Westminster estate, where so much networking and political decisions are made.’
‘The exhibition will for once put women centre stage, acting as a reminder to never leave women out of the equation, on behalf of all citizens but particularly the 51% of the population who have been so unequally represented.’
‘To represent and be presented for what we are – as women, by women – is a very special thing. This is what 209 women is all about.’
The project is presented in association with the luxury brand Aston Martin Lagonda and Power of Women Series, and is supported by Montessori St Nicholas. It is delivered in partnership with Open Eye Gallery, Liverpool City Council, The Royal Photographic Society and The Sorority.
The core team behind the exhibition is Hilary Wood (Founder/Director of ‘209 Women’ and photographer), Tracy Marshall (Director of Development and Partnerships at Open Eye Gallery), Cheryl Newman (Artist, curator and former Director of Photography of the Telegraph magazine) and Lisa Tse (Brand Consultant, TV Producer and founder of women’s club The Sorority), and is supported by Ambassador Rosemary Reed, Executive Producer and Founder of Power of Women series).
209 Women is a free exhibition at Portcullis House, House of Commons and runs from December 14th till February 2019.
The Swiss Alps are one of the most remarkable examples of astounding beauty on our doorstep. One of my favourite places in the region is Gstaad, a chocolate box village, which, since the ‘30s, has been favoured by the most elegant Europeans and many a Hollywood star as a summer destination, although nowadays is most popular during the ski season.
It is easy to understand why. Nestled among imposing Alpine peaks in the Bernese Oberland region, and home to prestigious international boarding schools, Gstaad has been for a very long time a holiday destination for royalty and celebrities. Elizabeth Taylor, Jacquie Kennedy, Ava Gardner, Princess Grace of Monaco… they all flocked here in the golden years when glamour was truly glamorous.The traffic-free centre of the village is a harmonious mix of restaurants, luxury boutiques, hotels and bars; the aesthetic integrity of the area being guaranteed by the strictest of construction laws. Towering over the village and the surrounding valley as an imperious period queen is the Gstaad Palace Hotel, a fairy tale castle-like building which first opened its doors in 1913. It quickly became the establishment of choice by practically all the celebrities and royals that have graced the streets of this Alpine retreat, from Kofi Annan to David Bowie, Madonna to Roger Federer.
Gstaad Palace in the ‘70s
The hotel is today in the hands of the third generation of the Scherz family. Call me a romantic but I do love a good family story and even better, I love an old school hotel: plush carpets, wood panelling everywhere, walk-in wardrobes the size of a whole studio… and of course, a hundred and one ways to spoil yourself.
With more than 30,000 square metres of grounds, the hotel is like a resort in itself: tennis courts, indoors and outdoors pool, clay pigeon shooting, a spa to die for… This is the kind of place designed for guests to stay for at least two weeks, often a whole month, and in occasions, a whole season. Basically, you can make it home, dangerously easily.
There are many five star hotels, but very fewtruly offer five star service.
The staff at the Gstaad Palace are the real deal. Attentive without being fussy, warm without pretence, and always, always, ready to help. I came here 26 years ago with my father, just for two nights, but this place imprinted in my mind some of my favourite memories of travelling with my dad. As I walked in this time, the scent in the lobby sent an electric jolt of recognition to my brain, and for a second, I felt like two and a half decades had disappeared and that my father was just outside, parking his beloved Audi. But enough of this, at the end of the day, nostalgia is not what it used to be. To anyone coming here I’d suggest you resist the urge to rent a car and instead take the Belle Epoque train for a unique experience in the Orient Express style. This little jewel runs everyday from Montreaux to Zweisimenn, with a few stops along the way, among them, Gstaad. The Belle Epoque crawls up, snaking between the mountains, offering passengers the chance to enjoy a breath taking scenery of soaring mountains and maddening deep valleys.
The transfer from the station to the Gstaad Palace hotel takes five minutes and on arrival, the warm hospitality of the staff wins you over from the word “go”.
There is no such a thing as a bad room here. From the smallest double to the spectacular Penthouse suite (three bedrooms, private sauna and extraordinary views over 240sq metres), all of them are furnished to the highest standards and stylishly decorated, without being designed within an inch of their ceilings, which by the way, I am not very fond of, because normally it means terrible lightning in the bathroom, uncomfortable furniture and sterile atmosphere.
Everything is properly done at the Gstaad Palace, including a proper hair dryer, proper bathroom lights, proper walk-in wardrobe, and even proper desks. It’s heaven!The elevator is a bit slow, but so would you if you had been ferrying guests up and down seven floors for over a century.Le Grand Restaurant looked very much the way I remembered it: white tablecloths, beautiful cutlery, soft lightning, and live music at just the right volume. We had seabass in salt crust -dinner with a show. Career waiters, true professionals, worked together in perfect unison, almost like an orchestra, to serve us the most delicious dinner.
On this trip I discovered e-bikes, a fabulous invention that involves a little motor in a pushbike to allow anyone to climb the steepest Alpine peaks. Our guide Claudia, part of a unique group of eight local women tour guides, took us from the Gstaad Palace all the way to Lauenen lake, where the sun came out and flooded the valley with gold autumn light, making the water twinkle as if its surface was all covered with sparkles. Total bliss, total peace.
I was lucky enough to be in Gstaad for the “Raid du Sud” classic rally. Petrol head me couldn’t help but dribble over the beauties that for once, had the privilege to circulate through the village, normally closed to any kind of motor traffic. Gstaad has become famous for its rallies, partly thanks to Andrea Scherz, General Manager of the Gstaad Palace.
He is a great fan of classic cars himself and enjoys taking part in challenging rallies. Actually, the Palace has been running the “Weekend des Vétérans” over the last weekend of June for more than forty-five years and three years ago Scherz created the “Gstaad Palace Challenge”, which is open to collectable classic sports cars built between 1950 and 1980. The rally takes place at the very end of August.
A rare Porsche 356 Roadster, taking part in the Gstaad Palace Challenge.
If you are a gourmet, I’d recommend you stop at Earlybeck, probably the best boulangerie in the area, and try some of the local delicacies.For the die-hard cheese lovers, there is a bizarre local attraction just out of Gstaad that I’m sure you’ll love: the cheese grotto. This is kind of an underground silo where 3,000 wheels of cheese worth 1M Swiss Francs are kept until they mature and are ready to be sold to the public. A weekend at the Palace wouldn’t be complete without a visit to their renowned spa. As everything at the Gstaad Palace, the spa is ample and elegant, organised around a central room with an open fire in the middle, perfect to sit and relax for a while, until it’s time for your treatment.
I chose a Jardin de Monts energising massage, with oils exclusively made for the hotel by the Jardin de Monts Garden, just 40km away. The massage technique is inspired by pre-Colombian Indian rituals from South America. It really made a difference on my tired limbs and long-suffering Editor’s back. There are also all the standard hair and beauty treatments you may expect from such a first class establishment, including micro-needling, a very popular non invasive anti-age treatment.
On our last night, we went for dinner to another of the Palace’s restaurants, Le Grill, where I ate the most delicious tuna carpaccio served with avocado and ginger and a surprisingly light and flavoursome duck breast with wild mushrooms. We washed it all down with a bottle of Humagne Rouge 2015, a fruity, cheerful red wine only available in Switzerland.
One of the afternoons during our stay, I had the chance to meet Andrea Scherz, grandson of the Sherz who bought the hotel back in 1947, and who’s been its General Manager since 2001. I interviewed him on Le Grande Terrase of the hotel, overlooking the valley of Gstaad, sipping champagne and nibbling on parmesan biscuits.
Gstaad Palace Spa Lounge.
I-M: As a child, you must have heard amazing stories about the early days of the Gstaad Palace. Any in particular that holds a special place in your memory?
A.S: My grandparents and father often mentioned World War II. What fascinated me was the gold bunker that was built in the garden of the hotel. A two floor fortified bunker with a five meter concrete roof which was disguised as the hotel’s terrace. My father recalls that his mother used to take him by the hand to see the gold deliveries in the early morning hours. Heavily guarded army trucks rolled up to the back of the hotel and men with crates transported each gold bar one by one into the lower floor of the vault. All this was done to save the Swiss gold from a potential German invasion, as Gstaad was one of the best defended and most inaccessible areas of Switzerland.
I-M: You must have met many celebrities here. Who impressed you the most as a kid and as a grown up?
A.S: Roger Moore used to play electric trains with me when he came for cocktails at my parents’ house; much to their annoyance, because he seemed more interested in my train than in my father’s cocktails. I had a love-hate relationship with Elizabeth Taylor. I loved that she always gave me a big hug when I was a little boy but I hated the hairs of her fur coat tickling my nose during the hug. Jacques Chirac played hide and seek with my brother and me on the Palace grounds and I once met Michael Jackson for drinks at my dad’s house.
I was most impressed with the kindness and sharpness of Margaret Thatcher. I had the privilege to spend some time with her showing her around our beautiful region and sharing the occasional beer on a warm summer evening.
I-M: How was training with your father and grandfather to one day be in charge of the family business? Which were the core values that they instilled in you?
A.S: My father had the great habit of taking me to meetings related to the hotel or other positions he served in the area of Gstaad. I learnt a lot by observing and asking questions later. Core values my parents gave me were honesty, to never do to others what I wouldn’t like done to me, and to only spend the money I had made before. During the season, I had all my lunch breaks from school at home in the hotel and occasionally my brother and I were allowed to accompany our parents to the hotel in the evening. In a very natural manner, during these meals, I learnt a lot about hospitality, but my father never pushed me to go into the family business.
Corner Suite living room, Gstaad Palace Hotel.
I-M: The hotel has undergone many changes over these 105 years but always managed to keep its identity and personality. What is the secret?
A.S: I think it’s very simple, during eighty of its 105 years, the hotel has been owned and managed by the same family. As I said before, we have shared the same values and ideas about hospitality through three generations, which in turn reflects on the hotel.
I-M: Your love for classic cars shows in the Gstaad Palace “Weekend des Vétérans” and the “Gstaad Palace Challenge” rallies. Are you pleased with the way these events are growing?
A.S: Indeed, I am very pleased with the two events. The “Weekend des Vétérans” was created about 50 years ago by my father and it’s still highly successful. Four years ago, I created the “Gstaad Palace Challenge” to offer an additional, more challenging and competitive rally. On the third year, we already managed to sell 26 of the total of 30 spaces available. These rallies introduce new guests to the hotel and are a highlight to our summer calendar.
Andrea Scherz
I-M: Do you own classic cars yourself and take part in these rallies?
A.S: As we are the organizers of these rallies, out of fairness, I do not participate but I help organizing them. On the “Weekend des Vétérans” I look after the lunch halt and on the “Gstaad Palace Challenge” I open the road with the latest model of our sponsor, Ferrari Switzerland. I own a Jaguar E-Type Series 1 and two road versions of Rally Champion cars of the ‘80s.
I-M: I believe the Gstaad Palace employs over 300 workers directly and many more indirectly. What is the role that you think the Gstaad Palace plays in the local community?
A.S: Yes, that is correct. We have 300 employees in winter and 200 in summer. On the hill above Gstaad, the Palace is like the lighthouse of the town. When its lights are on, many tourists come into the region and bring business to all sorts of commerce.
I-M: Lastly, what has Andrea Scherz not done yet that he’d like to do?
A.S: One day, I would like to take a six months sabbatical.
Montenegro is a small Balkan state with rugged mountains, medieval villages and many small beaches along its Adriatic coast. With a history that dates back to the 9th century, this relatively unknown country is a force to be reckon with, and played a pivotal role in stopping the advances of the Ottoman Empire.
This is just a speck in the rich tapestry of its history, so much so, that you can almost feel it tingle in your fingertips when you are there. Just close your eyes and let yourself go back in time. Montenegro’s colourful history has been ruled by many different regimes, from the Habsburg monarchy to the Soviet Union.
Since the end of the Soviet era, Montenegro has slowly but steadily grown as a holiday destination. It is not a surprise to me, since this little European paradise has a stunning array of landscapes that will enchant you forever. Framed by the majestic Balkans and blessed with turquoise blue waters along its coast, this is a country that reminds me of both, dark legends and fairy tales.
The Bay of Kotor, resembling a fjord, is dotted with coastal churches and fortified towns such as Kotor and Herceg Novi. Durmitor National Park, home to bears and wolves, encompasses limestone peaks, glacial lakes and 1,300m-deep Tara River Canyon. In 1991 Montenegro’s parliament declared the country an Ecological State. Having searched the internet, I stumbled across a tiny boutique hotel called Casa del Mare Capitano in the heart of Boka Bay (Herceg Novi). This UNESCO protected house translates as “The Captain’s Palace”, a hidden gem that conquered our hearts the moment we crossed its threshold. With only eight bedrooms, it would be ideal for a “family takeover” or to celebrate with friends one of those crucial birthdays we are all slowly walking towards. All the rooms are totally different in size and style. Ours had a four-poster bed and it was located by the large plunge pool.
The medieval town of Kotor.
We spent a relaxing day under orange and lemon trees. That night, we dined on delicious paper wrapped sea bass. I thought food couldn’t get any better, but it did, the morning after when we were presented with divine banana pancakes with truffles for breakfast. Autumn is a fabulous time to come to Montenegro, it is truffle season and the landscape is dyed in rich, beautiful shades of ochre every where you look. Foraging for other wild mushrooms is also quite popular. Their award-winning wines put the final notes on what it is, overall, a gourmet’s paradise.
Ado and his incredible team at Casa del Mare Capitano blew us away with their hospitality, helping us organise all the sight-seeing and making insightful and truly interesting recommendations. Our first adventure was to visit Hergec Novi, affectionately described by Nobel Prize laureate Ivo Andric as the city of “eternal greenery, sun and promenades” and by me, as the city of 100,000 steps.
As we gingerly climbed down the steps to the harbour, we came across tiny jewellery shops, little grocery stores overflowing with delicious peaches, ruby red cherries and fragrant figs; and stopped for one of the greatest traditions in Montenegro: a mocha Dojckafa coffee. Fully energised by our caffeine fix, we skipped down yet more steps to the harbour. We were met by Marco, our guide for the day, from the boat trip company “Pajo”. A boat trip to the Blue Grotto is not to be missed if you come to Montenegro, and as we were there in low season, we were the only passengers on board.
I am not the bravest, but I am sure I would have regretted not jumping off the boat for a swim in the crystalline waters of the blue Grotto. The water was not as cold as I expected it to be this time of the year and this secluded cove near Zanjice beach is definitely worth the effort. After our swim, Marco took us to a tiny island nearby, to see a 13th century church with stunning orthodox frescos. For lunch, we tied up our boat on a small pebble beach where our restaurant was located, shaded by ancient olive trees and with a stunning view of the coastline. All the fish was freshly caught and cooked to the guests’ specifications, so we chose ours to be simply grilled with just a squeeze of lemon. We washed it down with one of the award-winning local white wines. Later that day, we visited Tivat. Once a sleepy little village, it is now a luxury harbour full of superyachts, designer boutiques and pristine, white promenades lined with palm trees. You could easily think you were in the French Riviera! In fact, Porto Montenegro is definitely becoming the place to be seen.
Perast.
As the week went on, we discovered more enchanting places, like the medieval town of Budva. The first impression of the oldest city on the Montenegrin Coast is really spectacular. It was the Venetians who gave Buvda its magnificent appearance in the 15th century, including its city wall. The new town on the other hand, is full of big hotels and marina bars. We weaved our way along the marina until we got to an arch in the old city wall. This took us back hundreds of years, as it showed the way to a labyrinth of wonderful narrow streets, roof top restaurants with purple bougainvillea cascading down their walls and little squares with old men playing chess and couples laughing over a glass of wine. The Venetians also built many churches in the region. The triple nave of The Church of St John the Baptist (St Ivan) dates back to the 9th century. Sadly, our last day came too quickly. We decided to take one last boat trip, this time to the fortified town of Kotor. We embarked at Herceg Novi as before. This time we were not the only passengers but we were delighted with the company, since our fellow passengers were a jolly crowd and within ten minutes of departing, we were all chatting with each other. As the boat gently moved through the fjords, we had the opportunity to admire stunning mountains, churches and monasteries. After a swim and a light, but delicious lunch onboard, we pulled into Kotor.
Kotor is one of Montenegro’s most popular destinations, which sadly means that is often a stop over for cruise liners, which can make the town feel quite crowded. Despite this minor issue, this is still a place you can’t miss if you visit Montenegro. It was declared a World Heritage Site by UNESCO after an earthquake in 1979. Here you can truly immerse yourself in history and feel the many civilisations that have step on its streets: Romans, Venetians, Austrians… and of course, the Ottomans. I particularly liked the beautiful Cathedral of St Tryphon, which had its foundations laid in 1166… on a 9th century church.
The town is totally enclosed by city walls, which are cut deep into the mountain, giving the whole place and uncanny fairy tale essence. As you gently climb up to the city gate, you get a wonderful view of the mountains and fjord. Kotor is dotted with many cafes, and small restaurants, where you can enjoy a feast of local squid stuffed with cheese and ham, delicate sheep’s cheese served with figs and drizzled in honey, and of course, if you are all fished out, you can try organic beef, which is available in many of the restaurants. On our way back, we stopped at Perast, a stunning little village, famous in Tsar Peter the Great time, and home to the beautiful St Nikola Church, with its 180.4ft high bell tower. Only 300 people live here, and it feels as if time had literally come to a halt. To me, it is undoubtedly one of the most beautiful villages in the whole Adriatic.
Sveti Stefan Island.
Knowing it was our last day we were sad to return to the hotel. Aldo greeted us with a big smile: “You haven’t been wine tasting yet. You can not leave without wine tasting. Come on, it’s all arranged.” So, we were driven up in to the hills, the mountains and fjords behind us, to the beautiful Savina Winery, owned by the Obradovic family. Savina overlooks the Bay of Kotor. Its sun soaked vineyards are still bearing fruit much like they did back in the 18th century. Only the finest grapes are carefully picked, and the wine is nurtured in French oak barrels in the estate cellars which are protected like the most valuable treasure.
We tasted three different wines and two types of Grappa, all accompanied by a table of local delicacies: olives, meats, cheese, fresh baked bread and sweet, home grown tomatoes. As we sat on their terrace watching the sun go down, I knew that Montenegro is one of this places where I would keep coming time and again. Actually, I almost didn’t write this article…
The Falklands war in 1982 resulted in 649 Argentines and 255 Britons killed; thousands were injured. Among the 777 British service men wounded was Captain Robert Alisdair Davidson Lawrence MC, who lost 43% of his brain, and the use of his left arm after being shot in the battle of Tumbledown.
It was two days before his 22nd birthday. He lay in the snow for six hours before being airlifted. He was the last wounded to be operated on… and he figured it was because nobody expected him to survive. But boy! Not only he survived, but his recovery challenged all expectations and his determination took him to founding Global Adventure Plus, a project to rehabilitate British ex-servicemen through expeditions to foreign countries. His own adventures have taken him to the Arctic, India and Africa (escorting Princes William and Harry).
Before that, he was a Patron for Ticket for Troops and a Mentor for Heropreneurs. Robert also oversaw over £100,000 of fundraising for Combat Stress as a Patron in 2009. He co-wrote with his father ‘When the Fighting Is Over: A Personal Story of the Battle for Tumbledown Mountain and Its Aftermath’, an account of his experiences during and after the war, later adapted by the BCC for a television drama, Tumbledown, starring Colin Firth as Robert.
His wife of 25 years, Marion, describes him as an honourable, strong character, funny and extremely kind. She deeply admires how he has always kept his strength, and remembered what he fought for. He very rarely complains despite being in a lot of pain. “He is definitely not defined by his injury or sees himself as a victim,” says Marion with conviction, “he just gets on with things. He tends to physically overwork himself and then, of course, suffers the consequences.”
Captain Robert Lawrence MC is, without a doubt, charismatic and engaging, a big character. He makes friends wherever he goes. As his wife says with pride,
“He doesn’t live in half shades, he does everything to the full.”
In this interview, Captain Lawrence MC shares with us his disappointment on the British Government, his almost forty years fight to get veterans the care they deserve, and his profound respect for the soldiers all over the world that risks their lives to safeguard others.
I-M: Did you attend any of the events organised for the 35th anniversary of the war last year?
R.L: My wife and I attended a fundraising ball on behalf of Veterans in Action. This is a charity that I am a founding Patron of. We also attended Armistice and Remembrance events.
As President of The Scots Guards Tumbledown Veterans and Families Association my family and I were, as always, proud and honoured to gather with the Association in Blackpool for the anniversary where, with the support of the Lord Lieutenant and Mayor, we paraded through the town and held a service at the War Memorial.
I-M: More Falklands veterans have taken their own lives than the 255 who died during the war. You have been very outspoken about how you feel the Government fails to properly care for the wellbeing of ex-servicemen, which seems to be left very much in the hands of Charities. Can you see any steps in the right direction?
R.L: I am not impressed by the lack of effort by the British Government to take care of their ex-service men. This is their job, not the job of charities. Charities do, in general, an amazing job but there is the question of what some people in charities are paid, sometimes vast sums of money that could be used for much more worthy purposes.
They say things have changed a lot, but they haven’t changed that much. The ex-service men of the Vietnam war were hated by the people of the US, so the Government knew that they had to look after them. Therefore, they created special institutions and hospitals for Vietnam veterans. In the UK however, the Government knows people love their soldiers so they think they can leave the people to take care of them. This is wrong. The care of veterans is the responsibility of the Government that sent them to war in the first place.
I-M: At some point there was an injunction against your book, but it did little to stifle its success. Do you think your book has been critical in changing the public opinion about how Britain treats its servicemen and its veterans of war?
R.L: Although my efforts with the book and film were a very long time ago and as such are early observations about the lack of government care for veterans, I would still like to think that they added their weight, no matter how small, to the excellent work that we now see through the efforts of, for instance, HRH Prince Harry with the Invictus Games.
However, ultimately this kind of excellent and very well meaning charitable work should be the responsibility of and undertaken by the politicians, as I said before, who rightly or wrongly submit our armed forces into conflict but are not prepared to except the long term consequences.
I-M: What about yourself? We can see the physical scars, but what about psychological and emotional scars? How does your work and your family help you deal with all these difficult issues?
R.L: The Tumbledown Veterans Association included the families. As soldiers we tend to be keen to do our job and have mixed, but often good opinions of what we do. It is not so much the going to war as the returning home that presents us with the issues and sadly, it has long been the families who have born the brunt of the damage. In the years since the war I, of course, have lived through personal anguish and tried to share the struggle of a good number of my soldiers, some of whom are no longer with us. In my case, I can confidently say that my wife Marion saved my life.
I-M: You have been very open about the reporting of the Iraq and Afghanistan conflicts, and how you feel the “economic rationalisation” of the MoD has compromised the British army at a time when servicemen have never been under greater stress: closure of military hospitals, failing in the MoD duty of care… how do you think this affects our troops?
R.L: The doctors, nurses, and other medical staff are truly amazing. It is the Government who failed to realise that returning service men not only have physical injuries but also psychological wounds that stop them adapt- ing to normal life. That’s why after years
of fighting these demons, ex-service men end up committing suicide or becoming homeless. These injuries can’t be dealt with in a civilian hospital. Soldiers need to be in a military hospital, where they feel at home, and surrounded by people who understand them, who are their family. The NHS cannot deal with the special needs of ex-service men.
The most difficult thing is to find out who to talk to. There seems to be a Veteran Minister but I don’t know who he is, do you? And the Minister of Defence says that caring after veterans is not the Ministry’s business, that its business is to run an army.
Thank God organisations like Help for Heroes started… but they could only help people after 9/11. So if your war or conflict took place before then, you don’t get any financial support.
They have set up reach out centers which they bought from the Government… so the money went back to them. Now they have fourteen of these buildings but you can’t go to if you have left the army. Does that make any sense?
I-M: What about your work with Global Adventure Plus? How has this project helped veterans of war and how is it moving forward?
R.L: Global Adventure Plus (GAP) helps Britain’s ex-servicemen get back on their feet after serving their country in the forces. Through the challenges of adventure, team-work and camaraderie, GAP re-invigorates and re-motivates soldiers who have lost their way since leaving the job they knew and loved. The book that was published about this adventure, explores the background to GAP and is also a record of our inaugural adventure in the Himalayas.
I-M: What is your message for our current servicemen and women?
R.L: I loved being a soldier. I love the armed forces, they become your family. Our oldest son is actually hoping to join the army. We are very proud of him. So my message is one of hope, but we must make the Government take up their responsibility.
Our servicemen and women have to be looked after when they come back. Maybe, there should be a points system for the people that have been at the forefront of defending the country: policemen, nurses, paramedics, firemen, soldiers… If a person has put their life at risk for the rest of us, they should have some advantage and be looked after particularly well, don’t you think?
I-M: How do you think new media channels, such as social media can help raise awareness and encourage improvements?
R.L: Social media has allowed for communications between a number of Falklands veterans from both sides of the conflict. As a prime example this is a letter I received from my opposite Argentine number:
“Gentlemen,
I’m the one who in 1982 served as the 4th platoon leader / Nacar company / 5th Batallion, during the battle in the West end of Tumbledown.
In 1982, I was a Lieutenant, the second officer rank in the yooknavy, and I had 40 soldiers and NCOs at my position.
Like most of you, I am a professional soldier, and after the war I continued my career until last year, when I retired from the Argentine Navy, after 38 years of service with the rank of Captain.
Going back to the Battle of Tumbledown, I must say that I was surprised how the fight started, so close that we can not open fire on you at greater distances.
This led us to you and us, to a melee infantry fighting that lasted between 2310 hours on 13 June until 0815 hours of June 14, when you took my foxhole which was the last one to fall.
It was a battle in which both of us were fighting for our lives, but also for our honour as soldiers.
I never gave more importance if the reasons of the war were right or wrong.
That belongs to a level, which was not my responsibility as a Lieutenant, to be analyzed. But rightly or wrongly, we both fight in just doing what we have to do like soldiers.
In this battle, 17 of my soldiers were KIA, and only 6 finished the battle without any wound. I think these numbers speak louder than words, to describe what that was like.
I am proud to have command that 40 soldiers on that night. But I am also proud to have fought against you. On that night you showed professionalism, discipline, courage and chivalry.
After the battle, my men and I received the treatment of men by all of you, despite the bloody combat and emotions that we both had for our fallen and wounded comrades.
That sets the tone for who you are. True soldiers. Each did his duty, and both have put into play the same, our lives and our honour. So I feel you are true brothers in arms, that circumstances led us to be faced. Inthe years that have passed from the war, I received more recognition and satisfaction by the British military than by my own comrades and citizens.
I value that above all things. When my son, Lieutenant Carlos Horacio
Vázquez told me to write this letter, it meant for me a great joy to be able to reach you with these words that many years ago I wanted to tell you.
Gentlemen, receive in my name as Head of the 4th Platoon, my respect for you, my recognition of your value as soldiers, and especially my tribute to your fallen, for whom every year
I order a Mass as for my soldiers, on this anniversary.
You have my utmost respect, and it will be until the last of my days.
God Keep You, and all our comrades killed in combat.
Captain Carlos Daniel Vazquez Argentina’s Marine Corp”
Ultimately, one has to wonder how our young men and women can take part in these events and return to see life as normal.
Archaeological Treasures of Saudi Arabia, Louvre Abu Dhabi
Until February 16th 2019
This extraordinary exhibition at the Louvre Abu Dhabi has been possible thanks to the patronage of HH Sheikh Mohamed bin Zayed Al Nahyan, Crown Prince of Abu Dhabi, in partnership with the Saudi Commission for Tourism and National Heritage (SCTH). The show was conceived through cooperation between SCTH and the Musée du Louvre in Paris, where it was first exhibited in 2010.
The exhibition explores five chapters in the history of the Arabian Peninsula, spanning early prehistoric settlements; maritime exploration; caravan trading routes that linked the region with Asia, Mesopotamia and the Mediterranean; routes of holy pilgrimage emerging in the 7th century; and the social and economic developments between the 14th and 16th centuries, that set the stage for the modern day region.
The rich history of the Arabian Peninsula is brought to life through archaeological and cultural artefacts, including a selection of rare pieces from the UAE, such as a pearl found in Umm Al Quwain dating from 5500-5300BC (loaned by Umm Al Quwain Museum), and a stone decorated with a wild camel from the late 3rd millennium BC (loaned by Al Ain Museum), among many other exceptional pieces.
These treasures are displayed alongside significant artefacts from the Kingdom of Saudi Arabia, including outstanding funerary Neolithic stela, a 3rd century BC bronze statue head (loaned by the Department of Archaeology at King Saud University); a 1st century BC gold funerary mask from Eastern Province (loaned by the National Museum in Riyadh), 9th century engraved steles (loaned by King Fahad National Library); 4th millennium BC Anthropomorphic stele (loaned by the National Museum in Riyadh); a door of the Kaaba dating to 1355 (loaned by the National Museum in Riyadh), and a key of the Kaaba (loaned by the Department of Islamic Art at the Musée du Louvre).
Alongside the exhibition opening, Louvre Abu Dhabi is organising a three-day celebration featuring a performance called “On the Roads of Arabia” – a creation from music, dances and poetry by eighty artists from the Arabian Peninsula, Africa, Mediterranean, Indian Ocean, India, Indonesia and China with a contemporary, calligraphic street art drawing designed by Tunisian artist Koom. The cultural program accompanying Roads of Arabia: Archaeological Treasures of Saudi Arabia will also feature film screenings selected by Hind Mezaina, curatorial talks, as well as a range of education workshops and guided tours related to the exhibition.
I fell in love with classic cars in my eleventh summer, when my dad turned up at home with a 1969 Alfa Romeo Spyder, of course, in vermillion red. Previously boring car journeys to visit relatives became full blown adventures. It was the raw material childhood memories are made of.
I felt a similarly childish level of excitement upon attending Le Mans Classic this summer, a biennial vintage sports car event held on the grounds of the 24 Hours of Le Mans, jointly organised by Peter Auto and the Automobile Club de l’Ouest. Patrick Peter, the owner of Peter Auto, is a long time friend of Richard Mille. Peter approached Mille back in 2002, being aware of his passion for cars, to propose him to be the title sponsor of the event. Mille accepted and they have since worked together to make Le Mans Classic the successful and famous event it is today. Mille is not a stranger to racing, “I do like to drive on circuits during the year,” he says, “what I like the most is to have a few laps as quickly as possible, to have my dose of adrenalin and then I am done.
Generally, to run hours and hours is not my cup of tea. I prefer to spend quality time with friends who share the same passion.” Richard Mille’s love of cars started at an early age, “Since I was very young, I was fascinated by the mechanics of cars. I went with my father to my first Grand Prix in Monaco in 1966. This was a revelation in following what would become the golden age of motor racing.” It was here that he saw Bruce McLaren driving the M2B, the very first McLaren Formula 1 car, designed by Robin Herd and fell head over heels in love with the sport, to the point that he actually bought that very car six years later. To date, I am told this car holds a special place in his heart. This year, Mille had two cars competing during Le Mans Classic: a LOLA T212 FVC 1970 and another LOLA T70 Mk III B 1969. Mille´s two lifelong passions, watches and cars, finally came together when he signed a ten year partnership with McLaren, and the high-tech RM 50-03 McLaren F1 was created, to the delight of watch collectors worldwide. “There is a very close link between this passion, the brand
“There is a very close link between this passion, the brand and its developments,”
Mille explains, “we develop our watches with the same consistency required for the construction of a racing car, in which the chassis, engine and bodywork must all be conceived together. Calibres can be removed with the same speed as engine blocks, and access to any particular component very rarely requires that the movement be entirely disassembled. In the automotive world, as in watchmaking, high-performance mechanics call for a similarly excellent chassis. Much as McLaren was the first F1 team to use carbon to lighten their car’s chassis, we introduced the use of carbon nanofibre for baseplates before designing a mono-body baseplate in Carbon TPT®. Formula 1 cars from the 1960s have also influenced me. Their tubular chassis are veritable works of art, so much so, that they inspired the tubular baseplate of the extremely rare RM 012.” Mille’s creativity inspired by the automotive world extended to create a series of Le Mans Classic limited edition watches, the latest of which, the RM 11-03 Le Mans Classic has an RMAC3 automatic.
Their tubular chassis are veritable works of art, so much so, that they inspired the tubular baseplate of the extremely rare RM 012.” Mille’s creativity inspired by the automotive world extended to create a series of Le Mans Classic limited edition watches, the latest of which, the RM 11-03 Le Mans Classic has an RMAC3 automatic calibre heart (or should I say “engine”), completed with a flyback chronograph that can literally flatten the on-track lap timers. Furthermore, its twin mainspring barrels offer fifty five hours of power reserve. The case is made of white ceramic combined with Graph TPT®, a carbon-based material six times lighter than steel and 200 times stronger. Dial detailing in British Racing Green and yellow lends an undeniable classic racing vibe to what is otherwise an almost futuristic-looking watch. Just a hundred and fifty of these watches will be made.
The Le Mans Classic event of 2002 was the first time since 1923 that the full 24-hour circuit, part of which is public road, was closed specifically for an event other than the annual running of the 24 Hours of Le Mans, with contemporary sport cars and prototypes, thus allowing car owners and drivers to experience what it must have been to race these cars on this circuit. The event consists of a series of races for cars which have competed at the 24 Hours of Le Mans or for similar cars of the same model. Only cars from prior to 1979 are allowed, with all being broken into six different eras. To compete in the races, a driver must own an FIA International Competition license, meaning the drivers are of professional level. Car shows and auctions are hosted on the Bugatti Circuit grounds, with various car clubs meeting
The event consists of a series of races for cars which have competed at the 24 Hours of Le Mans or for similar cars of the same model. Only cars from prior to 1979 are allowed, with all being broken into six different eras. To compete in the races, a driver must own an FIA International Competition license, meaning the drivers are of professional level. Car shows and auctions are hosted on the Bugatti Circuit grounds, with various car clubs meeting to show off machinery. The 2018 edition saw record-breaking numbers of participants (700 cars) and attendees (135,000 spectators), with over a thousand drivers coming from all over the world, plus more car clubs, exhibitors and activities available on the grounds. In 70 years of history of this great endurance event, the 2018 Le Mans Classic celebrated the 40th anniversary of Alpine’s victory in the 24 Hours, the 25th of the historic triple of the Peugeot 905; and 70 years ago Porsche really came of age with the launch of its first series production car, the famous 356.
There were numerous celebrations of other iconic makes and models starting with the 50th anniversary of Ligier, the Ferrari 365 Daytona, the BMW 2002. In addition to the traditional Grids 1 through 6, and Group C, representing Le Mans racing cars from 1923 to 1993, the new Global Endurance Legends grid introduced a new era into Le Mans Classic, the GT1s and other LMP1s of the 1990s and 2000s. With this demonstration grid, the event now widens its retrospective view of the 24 Hours of Le Mans to 2016, with the famous Audi R8, Bentley Speed 8, Peugeot 908 HDI and more, such as the McLaren F1 and Maserati MC12. Richard Mille famously invites a number of friends and partners to this adrenaline charged weekend, such as Mike Flewitt, CEO of McLaren Automotive, the future Formula E driver Felipe Massa, WRX driver Sébastien Loeb and football player Didier Drogba, who gave the start on Saturday for Little Big Mans — the race for children.
A hundred or so replicas of endurance vehicles promptly sprang into action on the straight before the stands as the public cheered them on. Their adult colleagues took to the track at 4.00 pm, with Grid 1 reserved for pre-war vehicles (1923-1939) marking the official start of the 9th edition of Le Mans Classic. Sébastien Loeb and Felipe Massa together waved the French flag, signalling that man and machine were free to take on the Le Mans track. The grids would follow one another in lining up until the following afternoon at the same time. Between the races, the activities organized by all the car make clubs, those hosted in the Collectors’ Enclosure and all the events in The Village (Drive-In cinema, bowling pitches, period motorbikes…), it is difficult for me to think of a better way or better company in which to spend a summer weekend.
