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<strong>VOLUME</strong> 9<br />
EDUCATION FIRST<br />
Improving the world<br />
one school at a time<br />
PORTO NOW<br />
Portugal’s second city is<br />
thriving like never before<br />
HORSE PLAY<br />
Inside the world’s leading<br />
equestrian circuit<br />
TIME AND DATE<br />
The artistry of perpetual<br />
calendar watches<br />
A CERTAIN STYLE<br />
In conversation with<br />
Dolce & Gabbana
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NORTHROPANDJOHNSON.COM<br />
A N T I B E S : : A S I A P A C I F I C : : F O R T L A U D E R D A L E : : L O S A N G E L E S : : M O N A C O : : N E W P O R T : : N E W P O R T B E A C H : : N E W Y O R K : : P A L M A : : S A N D I E G O
taking off<br />
THE AMERICAN WEST<br />
HAS ALWAYS HAD<br />
AN UNMISTAKABLE DRAW.<br />
A LAND OF BIG SKIES<br />
AND TOPOGRAPHICAL<br />
CONTRASTS,<br />
ranging from prairies to peaks, it has been a cradle of<br />
opportunities for everyone from pioneers and prospectors to<br />
film producers and start-up potentates.<br />
The West increasingly also draws visitors both to its<br />
remotest corners and its well-trodden population centres. In<br />
this, our autumn edition of NetJets, The Magazine – which<br />
bears an aerial view of the ancient volcanic topology of Utah’s<br />
Millard County on its cover – we provide an update on all the<br />
happenings throughout the vast region. One special stop, on<br />
page 74, is the unequivocally remote West Texas art hub of<br />
Marfa, a must for any culture vulture.<br />
Elsewhere in the art world, we report on how and where<br />
virtual reality is being deployed to enliven our experience, be it<br />
in world-class museums or niche galleries. And we also profile<br />
the Italian design duo who many consider to be among the<br />
most artistic in the world of haute couture: Domenico Dolce<br />
and Stefano Gabbana. As you’ll discover in our exclusive feature<br />
on page 30, their aesthetic is not to embrace trends but rather<br />
to create products whose DNA is rooted in Italian timelessness<br />
– in their words, “inspired by life, people and love”.<br />
There are, as always, many other features in this issue,<br />
including visits to Porto, Saint-Émilion and chef Ana Roš’s<br />
deservedly feted eatery in Slovenia that we hope will inspire a<br />
flight of fancy. As Dolce and Gabbana put it in our interview,<br />
“We love to travel: it inspires us and makes us dream.” We hope<br />
you derive the same contentment wherever you are travelling<br />
with NetJets.<br />
– The Editors<br />
This symbol throughout the magazine denotes the nearest airport served<br />
by NetJets to the story’s subject, with approximate distances in miles and<br />
kilometres, where applicable.<br />
CONTRIBUTORS<br />
AVRIL GROOM<br />
The fashion writer enjoyed a<br />
fascinating glimpse inside the<br />
world of Dolce & Gabbana<br />
when she talked to the everoriginal<br />
brand’s eponymous<br />
founders on their philosophy<br />
and their future for The<br />
Ultimate Freedom (page 30).<br />
LAURIE KAHLE<br />
In It’s Complicated<br />
(page 48), our horological<br />
correspondent examines<br />
the popularity of perpetual<br />
calendars and evaluates new<br />
iterations of the complication<br />
from renowned names<br />
in the world of watchmaking.<br />
LESLIE THRELKELD<br />
For years show jumping has<br />
revolved around the Olympics,<br />
but as the equestrian expert<br />
from North Carolina found out<br />
for When Elegance Meets<br />
Adrenaline (page 34), a new<br />
competition is raising the sport<br />
to greater heights.<br />
FLORIAN HOLZHERR<br />
The Munich native has long<br />
held a fascination for Marfa,<br />
a town transformed from<br />
a quiet backwater into a<br />
cultural centre in the 1970s,<br />
and which the photographer<br />
captured for Texas’s Art<br />
Paradise (page 74).<br />
LANIE GOODMAN<br />
The American writer, who<br />
lives in the South of France,<br />
travelled down the coast to<br />
discover how education is at<br />
the heart of all the inspiring<br />
work carried out by Monacobased<br />
charity Mission Enfance<br />
for Children First (page12).<br />
6 NetJets
CONTENTS<br />
SCHOOLS IN FOCUS<br />
pages 12-14<br />
The Monaco-based charity<br />
Mission Enfance is making a<br />
difference through education<br />
DYNAMIC DUO<br />
pages 30-33<br />
Haute couture titans Domenico<br />
Dolce and Stefano Gabbana discuss<br />
their inspiration and philosophy<br />
IN THE NEWS<br />
pages 16-24<br />
An Andalucían retreat, Keith<br />
McNally on Pastis reborn,<br />
the American West in focus –<br />
and more<br />
<strong>NETJETS</strong> UPDATE<br />
pages 26-29<br />
Special events in Bordeaux<br />
and Basel, a pilot in profile and<br />
company-wide information<br />
IN THE SADDLE<br />
pages 34-37<br />
Outside the Olympics, the Global<br />
Champions League is raising the<br />
profile of show jumping worldwide<br />
CANARY CHIC<br />
pages 38-47<br />
This season’s fashions match<br />
the rugged landscapes on the<br />
scenic isle of Lanzarote<br />
ULTIMATE ANACHRONISMS<br />
pages 48-52<br />
Perpetual calendars are high on<br />
the agenda for watch enthusiasts with<br />
an eye for complications<br />
8 NetJets
BEYOND THE VINE<br />
pages 54-61<br />
Porto is emerging from the shadow<br />
of Lisbon with culinary credentials<br />
to match its eponymous wine<br />
THE GOOD LIFE<br />
pages 72-73<br />
Uncovering the finest new spirits,<br />
books to whet the palate and<br />
a high-class humidor<br />
SLOVENIAN SENSATION<br />
pages 62-65<br />
Just across the border from Italy,<br />
Ana Roš is using local bounty to<br />
produce a singular dining destination<br />
MARFA IN PICTURES<br />
pages 74-81<br />
Contemporary works are juxtaposed<br />
with grand scenery in the cultural<br />
paradise in West Texas<br />
BEST OF BORDEAUX<br />
pages 66-67<br />
Château Cheval Blanc changed<br />
what people thought of Saint-Émilion<br />
wine – and it’s not finished yet<br />
THE LAST WORD<br />
page 82<br />
Paris Panthers rider Jennifer Gates<br />
on what she enjoys in life away<br />
from the equestrian arena<br />
A QUESTION OF REALITY<br />
pages 68-71<br />
The art world is embracing virtual<br />
reality without being quite sure how<br />
– or whether – it will be collectible<br />
CEBB PHOTO / GETTY IMAGES<br />
I M Pei’s Louvre<br />
Pyramid, page 28<br />
9 NetJets
NetJets, The Magazine<br />
<strong>VOLUME</strong> 9 – AUTUMN <strong>2019</strong><br />
FRONT COVER<br />
A study in contrasts from Millard County, Utah:<br />
pivot agriculture fields fit snugly around<br />
an ancient lava outcrop (see page 24 for<br />
an update from the American West)<br />
Image by Daily Overview,<br />
source imagery: © Maxar Technologies<br />
NetJets, The Magazine is<br />
the official title for Owners<br />
of NetJets in Europe.<br />
NetJets, The Magazine<br />
is published quarterly<br />
by JI Experience GmbH<br />
on behalf of NetJets<br />
Management Ltd.<br />
NetJets Management Ltd<br />
5 Young Street<br />
London, W8 5EH<br />
England, United Kingdom<br />
netjets.com<br />
+44 (0)20 7361 9600<br />
EDITOR IN CHIEF<br />
Thomas Midulla<br />
EDITOR<br />
Farhad Heydari<br />
CREATIVE DIRECTOR<br />
Anne Plamann<br />
DIRECTOR OF PHOTOGRAPHY<br />
Martin Kreuzer<br />
ART DIRECTOR<br />
Anja Eichinger<br />
MANAGING EDITOR<br />
John McNamara<br />
SENIOR EDITOR<br />
Brian Noone<br />
STAFF WRITER<br />
Claudia Roelke<br />
WRITERS, CONTRIBUTORS,<br />
PHOTOGRAPHERS AND<br />
ILLUSTRATORS<br />
Peita Blythe, Rob Crossan,<br />
Stephan Glathe, Lanie<br />
Goodman, Avril Groom,<br />
Florian Holzherr,<br />
Laurie Kahle, Bill Knott,<br />
Jen Murphy, Julian Rentzsch,<br />
Paul Richardson, Leslie<br />
Threlkeld<br />
Published by JI Experience<br />
GmbH Hanns-Seidel-Platz 5<br />
81737 Munich, Germany<br />
GROUP PUBLISHER<br />
Christian Schwalbach<br />
Michael Klotz (Associate)<br />
PRODUCTION DIRECTOR<br />
Albert Keller<br />
Copyright © <strong>2019</strong><br />
by JI Experience GmbH.<br />
All rights reserved.<br />
Reproduction in whole<br />
or in part without the<br />
express written permission<br />
of the publisher is strictly<br />
prohibited. The publisher,<br />
NetJets Management Ltd.,<br />
and its subsidiaries<br />
or affiliated companies<br />
assume no responsibility<br />
for errors and omissions<br />
and are not responsible<br />
for unsolicited<br />
manuscripts, photographs<br />
or artwork. Views<br />
expressed are not<br />
necessarily those of<br />
the publisher or NetJets<br />
Management Ltd.<br />
Information is correct at<br />
time of going to press.<br />
CHIEF SUB-EDITOR<br />
Vicki Reeve<br />
SEPARATION<br />
Jennifer Wiesner<br />
ADVERTISING SALES<br />
Katherine Galligan<br />
katherine@metropolist.co.uk<br />
Vishal Raguvanshi<br />
vishal@metropolist.co.uk<br />
10 NetJets
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spotlight<br />
CHILDREN FIRST<br />
Monaco-based Mission Enfance is rebuilding<br />
conflict-torn places around the globe<br />
using the bricks and mortar of knowledge<br />
By Lanie Goodman<br />
12 NetJets
Imagine rows and rows of white tents, as<br />
far as the eye can see, side by side. Each<br />
may have ten to fifteen family members<br />
living together in the same space. It is<br />
their only world.”<br />
Domitille Lagourgue, Director of Mission<br />
Enfance, who has just returned from Iraq,<br />
is describing the multitudes of displaced<br />
refugees living on Iraqi soil, among them<br />
more than 16,000 in the camp of Sharya,<br />
in Iraqi Kurdistan. “They cannot remain in<br />
these camps indefinitely because their entire<br />
family structure is destabilised,” she says.<br />
“The father, who might be a farmer, loses his<br />
paternal authority, his role as the breadwinner.<br />
All he has is a meal ticket.”<br />
Which is why the French and Monégasque<br />
organisation Mission Enfance has a deepseated<br />
commitment that goes beyond giving<br />
aid to devastated, war-torn areas. “Our<br />
leitmotif has always been rehabilitation. We<br />
Children at a<br />
Colombian school,<br />
that has benefited<br />
from Mission<br />
Enfance’s aid<br />
encourage people to wait out the conflict<br />
instead of fleeing and try to help them return<br />
to the place where they were born,” says<br />
Lagourgue. “Of course, we can’t send villagers<br />
back to a dangerous place under bombardment.<br />
But once they’re able to return to their homes<br />
– which are often in very remote places – we<br />
give them access to food, medical treatment<br />
and, most importantly, we build schools.”<br />
Lagourgue, an engaging, energetic<br />
woman with lively eyes and mellifluous<br />
voice, sits behind a wooden desk piled with<br />
papers, notebooks and Post-it Notes stuck<br />
to the computer screen. Here and there are<br />
framed photos of her with a team, visiting<br />
construction sites or talking to children.<br />
It is almost hard to imagine how so many<br />
complex international projects originate from<br />
this modest office, hidden away in Monaco’s<br />
modern district, Fontvieille.<br />
“School is a centre of life, a place where<br />
a terrorised child, who may have lost his<br />
parents or his home, will be distracted. We try<br />
to open their minds and bring them beyond<br />
their suffering, so that they can experience<br />
their childhood.”<br />
The plight of refugees is, in fact, nothing<br />
new to Lagourgue. In 1986, along with<br />
her husband, Edouard, and their two small<br />
daughters, she moved from Paris to live for<br />
two years in Peshawar, Pakistan, near the<br />
Afghan border. “It was during the political<br />
unrest of the Soviet-Afghan war,” she<br />
explains. “At the time, we were based at the<br />
French humanitarian refugee camp staffed by<br />
organisations like Médecins Sans Frontières.<br />
We made incursions into Afghan territory,<br />
even though the borders were closed.”<br />
Working as a journalist for French<br />
publications including L’Express and La<br />
Croix, Lagourgue witnessed the migration of<br />
millions of Afghans who fled to Pakistan or<br />
Iran. “Every day, we saw caravans of camels<br />
with families, carrying all their belongings,”<br />
she recalls. “It was massive.”<br />
In 1991, she relocated to Monaco, teaming<br />
up with a Monegasque priest, Father Stéphane<br />
Aumonier, who co-founded Mission<br />
Enfance. “At the time, Prince Rainier III was<br />
looking to expand humanitarian associations.<br />
It gave us an opportunity to continue what<br />
we’d already begun in Afghanistan and to<br />
pursue an ideal that we believed in.”<br />
Combining this association with<br />
Lagourgue’s widespread network, the<br />
small-scale organisation quickly achieved<br />
impressive results. To date, Mission Enfance<br />
helps children who would otherwise never<br />
have the possibility to attend school in places<br />
including Afghanistan, Armenia, Burkina<br />
Faso, Colombia, Iraqi Kurdistan, Laos,<br />
Lebanon, Syria and Vietnam.<br />
In contrast with other humanitarian<br />
organisations with more substantial budgets,<br />
Mission Enfance focuses on projects in<br />
isolated areas in the desert or the countryside<br />
where larger NGOs don’t often venture.<br />
“With €1.5 million, we build ten new schools<br />
each year,” Lagourgue says. “In 28 years,<br />
we have educated more than 1 million and<br />
taught them to read and write.”<br />
Their annual budget also covers a variety<br />
of community programmes: among them, the<br />
creation of ten educational centres with game<br />
and toy libraries, six orphanages, a nursery<br />
and ten health clinics.<br />
These days, under the Honorary Presidency<br />
of HSH Prince Albert II, the Principality<br />
of Monaco finances 80% of the charity’s<br />
operations, while private donors contribute<br />
the remaining 20% of the funding. With only<br />
three permanent employees, 50 local workers<br />
in the field and approximately 35 volunteers,<br />
the low cost for internal operations is clearly<br />
significant. “For a donation of €100, we send<br />
€99.40 to the project area and take out next<br />
to nothing,” affirms Lagourgue with a smile.<br />
“We have 4,000 private donors, mostly in<br />
France and Monaco. They know that their<br />
money is going directly to the field.”<br />
XXXXXXXXXXXXX<br />
“School is a centre of life,<br />
a place where a terrorised<br />
child will be distracted”<br />
13 NetJets
spotlight<br />
“In a world overloaded with multiple<br />
emergencies, our biggest challenge is<br />
to continue to mobilise our donors”<br />
The organisation also receives support<br />
from the French Ministry of Foreign Affairs,<br />
which donated €428,000 to build two new<br />
schools in the arid mountainous region of<br />
Sinjar, Iraq, northwest of Mosul. The city<br />
of Paris participates in creating a Mission<br />
Enfance school for Yazidi displaced in<br />
northern Iraqi camps.<br />
“Since 1992, when Mission Enfance first<br />
started working in Iraq, the population has<br />
never known a peaceful time,” Lagourgue<br />
points out. “There have always been conflicts<br />
– tribal, political, ethnic – and then came the<br />
Isis massacres in 2014.”<br />
“We’re in the process of constructing our<br />
sixth school in the area in the Nineveh Plains,<br />
inhabited by the Yazidi. We also work with<br />
the Christian community, which has always<br />
lived in that zone, and where you’ll find an<br />
incredible archaeological heritage and some of<br />
the world’s most ancient churches. Right now,<br />
in one of the villages that was 90% destroyed,<br />
one of our projects is taking charge of Yazidi<br />
girls so that they can go to university in Mosul.<br />
We finance the housing and food, but since<br />
it’s still very dangerous, particularly for young<br />
girls, the students travel 25 kilometres back<br />
and forth on a special bus.”<br />
Projects vary widely, Lagourgue explains,<br />
but she stresses the importance of establishing<br />
a sense of community. For villagers who have<br />
returned and are slowly rebuilding their<br />
homes from the debris, it might be as modest<br />
as a rehabilitated garden with refreshment<br />
stands where families can congregate, hold<br />
weddings or dance.<br />
Mission Enfance has also just completed<br />
an educational centre at Mazar-e Sharif,<br />
situated in the northern part of Afghanistan,<br />
intended for 2,800 children who were forced<br />
to flee when Isis invaded their territory. “We<br />
work in a very impoverished neighbourhood,”<br />
Lagourgue says, “but our goal is to bring<br />
students from their first year all the way to<br />
terminale, so they can take their baccalaureate.”<br />
A class at the school in Mazar-e Sharif, Afghanistan<br />
Of course, nothing would run smoothly if<br />
traditions were not respected. She cites the<br />
example of needing to divide the classes into<br />
shifts, as soon as the girls reach puberty, so<br />
that boys and girls are not sitting next to each<br />
other on the same bench. In these matters,<br />
needless to say, establishing a local network is<br />
paramount. “Here, our team is headed by an<br />
Afghan engineer and his paediatrician wife,<br />
who know the cultural imperatives. True, we<br />
advance very slowly. Still, since 2005, we’ve<br />
sent 5,000 children to school in Afghanistan.”<br />
And now, almost three decades later, the<br />
individual success stories are impressive.<br />
Lagourgue cites the example of a young boy<br />
living in Burkina Faso, sponsored by a private<br />
donor, who is now pursuing a doctorate in<br />
law at the Université de Franche Comté in<br />
Besançon, eastern France. Upon graduation,<br />
he intends to return to his country to try and<br />
reform the antiquated judiciary system.<br />
“In a world overloaded with contradictory<br />
information and multiple emergencies, our<br />
biggest challenge is to continue to mobilise<br />
our donors to provide a long-term education<br />
to those who are the most helpless,” says<br />
Olivier de Richoufftz, a member of the Board<br />
of Directors.<br />
Ensuring the continuous financing of<br />
humanitarian projects is equally crucial.<br />
“It’s very difficult to have to abandon them<br />
along the way, solely for budgetary reasons,<br />
when they carry so much promise,” adds<br />
Christophe Rhodius, another Board trustee.<br />
Lagourgue, who makes frequent site visits<br />
all over the world, is unequivocal about the<br />
importance of a step-by-step approach that<br />
will open doors of possibility. “When you’ve<br />
lost everything and your home is in ruins, one<br />
way of renewing hope is by having a place to<br />
learn. It may not sound as urgent as giving a<br />
sack of rice to a family, which we also do. But<br />
above all, what Mission Enfance provides is<br />
an infrastructure where children can rebuild<br />
their world and believe in the future.”<br />
mission.enfance.org<br />
© MISSION ENFANCE<br />
14 NetJets
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essentials<br />
THE SMART GUIDE<br />
A timely round-up of the latest travel news and destinations,<br />
restaurant revelations and must-have accessories<br />
Gibraltar Airport:<br />
36miles/58km<br />
UNDER THE SPANISH SUN<br />
An Andalucían escape par excellence, the new Anantara Villa Padierna Palace Benahavís Marbella Resort<br />
makes a stunning first impression. Guests arriving here are greeted by large expanses of softly undulating<br />
manicured grounds, a bucolic lake and a majestic, rose-hued palazzo-style edifice harbouring more than<br />
1,200 original paintings, sculptures and artefacts. Once checked in to any one of the hotel’s 138 elegant<br />
rooms, suites and villas – each with spacious terraces – most won’t see the need to leave the property with the<br />
array of incredibly diverse adventures on offer. For keen golfers, there’s a trio of 18-hole courses as well as an<br />
academy by one-time US Open winner Michael Campbell, while a more sybaritic experience can be had at<br />
the spa, which, inspired by Roman baths, comprises, among other things, a hydrotherapy circuit, a hammam<br />
and a comprehensive menu of medical beauty treatments. Just as invigorating is the cuisine: home to the newest<br />
outpost of the feted Spanish marque 99 Sushi Bar & Restaurant as well as “O”, a sleek Andalucía-inflected<br />
eatery by two-Michelin-star chef Paco Roncero, among several other chic dining outlets. A gourmet meal here is<br />
best capped off at Eddy’s Bar, a living-room style establishment serving innovative cocktails by award-winning<br />
mixologist Diego Cabrera. anantara.com<br />
© ANANTARA VILLA PADIERNA<br />
16 NetJets
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essentials<br />
ROOM FOR INVENTION<br />
The Cotton Factory is a fresh culinary concept in Manchester<br />
set in a truly exceptional space<br />
Once a mill, now an intriguing<br />
culinary destination, The Cotton<br />
Factory is bringing an everevolving<br />
selection of global cuisine to the<br />
North of England. Housed in Whitworth<br />
Locke hotel, in the heart of Manchester, the<br />
concept, in collaboration with the Londonbased<br />
food and beverage specialists The<br />
Initiative Group, utilises the beguiling space<br />
to create pop-up restaurants from some of<br />
the exciting up-and-coming independent<br />
operators around the world. The first<br />
of these short-term residencies when it<br />
opened in July was the Mexican brand El<br />
Camino, which created a bespoke menu<br />
that included beer-braised ox cheek tacos<br />
with chipotle aioli, red pickled chilli and<br />
crispy shallots; massa fried chicken tacos<br />
with red salsa and habanero aioli, as well<br />
as vegetarian options such as chipotle<br />
cauliflower taco with radish, red chilli and<br />
sweet potato puree – all washed down<br />
with tequila cocktails. An open-plan kitchen<br />
provides diners with an insight into the<br />
workings of the chef. The new residencies<br />
will be awaited with great anticipation.<br />
lockeliving.com<br />
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18 NetJets<br />
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essentials<br />
FIVE MINUTES WITH<br />
Keith McNally<br />
Manhattan’s Downtown<br />
dining revolution can be<br />
traced back to a dozen<br />
spots, and most of them<br />
are Keith McNally’s.<br />
Balthazar, Schiller’s, The<br />
Odeon, Pravda, Pastis,<br />
Lucky Strike, Morandi,<br />
Minetta Tavern. All were<br />
shepherded into their pitchperfect,<br />
supremely cool<br />
existence by the Londonborn<br />
restaurateur, who at<br />
this point has nothing left to<br />
prove. And yet McNally<br />
reopened Pastis (pictured)<br />
this spring, less than 100<br />
metres from its original<br />
location in the Meatpacking<br />
District (the first incarnation<br />
closed in 2014). A<br />
longtime friend of McNally,<br />
NetJets, The Magazine<br />
Editor Farhad Heydari<br />
spoke to him about the relaunch<br />
and what he looks<br />
for in a restaurant.<br />
MANY A HEART BROKE WHEN<br />
PASTIS CLOSED — WAS THE PLAN<br />
ALWAYS TO BRING IT BACK? My<br />
plan was always to bring Pastis to the<br />
Meatpacking District. The last few years<br />
of its 15-year lease, Pastis was busy<br />
every night, but our landlord was<br />
greedy and wanted to triple my rent, so I<br />
was forced out.<br />
AT THE NEW PLACE, WHAT<br />
DIFFERENCES WILL DEVOTEES NOTICE?<br />
The new Pastis is more spacious and<br />
the food‘s better!<br />
TODAY’S GASTRONOMIC CLIMATE<br />
DOESN’T SEEM AS FRIENDLY<br />
TO FRENCH FARE AS IT ONCE WAS.<br />
BUT IS THAT THE POINT, TO BE<br />
CONTRARIAN? Classic bistro fare<br />
has been around since the Napoleonic<br />
Wars, which is almost as long as I‘ve<br />
been eating it. As well as Italian, French<br />
bistro food is what I most like to eat. I<br />
can appreciate Modern Nordic and<br />
other dining trends without wishing to<br />
build a restaurant around them. I only<br />
ever build restaurants that I want to go to<br />
five nights a week.<br />
WHAT SHOULD FIRST-TIMERS<br />
ORDER? The escargots and either the<br />
grilled salmon or the steak frites.<br />
YOUR RESTAURANTS HAVE A<br />
WHOLLY UNIQUE MISE EN<br />
SCÈNE THAT CONSISTENTLY<br />
DRAWS THE FASHIONABLE<br />
CROWD. IS THIS INTENTIONAL?<br />
I never build a restaurant with anyone<br />
in mind except myself.<br />
HAVE YOU DONE ANYTHING<br />
IN THE NEW RESTAURANT TO<br />
COMBAT (OR ENCOURAGE)<br />
PEOPLE ON THEIR PHONES?<br />
Hopefully, at the new Pastis, the<br />
guests will be so enamoured of the<br />
look of the place and the food<br />
they‘ll forget about their effing phones!<br />
AT RESTAURANTS THAT AREN’T<br />
YOURS, WHAT SCREAMS THAT<br />
IT’S WELL EXECUTED? When the<br />
server prefaces announcing of the<br />
day‘s specials with “We have“ and<br />
not the pretentious “I have“.<br />
WHAT CAN’T YOU OVERLOOK IN<br />
A RESTAURANT? Mediocrity.<br />
WITH YOUR TRACK RECORD,<br />
YOU’RE DOUBTLESS<br />
APPROACHED FOR<br />
INNUMERABLE PROJECTS –<br />
WHAT’S NEXT? Pastis is the last<br />
restaurant I‘ll ever build.<br />
LOUISE PALMBERG; ILLUSTRATION: JULIAN RENTZSCH<br />
20 NetJets<br />
Teterboro Airport: 14miles/22km
WASTE NOT<br />
Alabama-based motorcycle manufacturer CURTISS has pared down its<br />
latest creation, Hades, to the bare minimum of materials while keeping power in mind.<br />
The all-electric motorcycle has a horizontal battery vault that targets a total<br />
output of 217hp. curtissmotorcycles.com<br />
BELGIAN BEAUTY<br />
Peaceful countryside and elegant accommodation<br />
combine at Domaine La Butte aux Bois<br />
© CURTISS, ANNE LEFEVRE, HUGO THOMASSEN<br />
On the doorstep of the heathland and pine forests of Hoge<br />
Kempen National Park, in the Limburg province of Belgium,<br />
Domaine La Butte aux Bois matches its stunning natural<br />
surrounds with a country estate of plentiful opportunities. Built<br />
in 1924 and once the home of the noble Lagasse de Locht<br />
family, “the Hill in the Woods” in Lanaken is now an ecochic<br />
resort that provides a supreme luxe experience in the<br />
most private of locations. With just 59 rooms spread across<br />
three buildings – Le Manoir, La Villa and La Forêt – intimacy<br />
is assured. True pampering comes at the Spa Retreat La<br />
Forêt, where the facilities include an indoor pool, panoramic<br />
sauna, treatment booths, a hammam and covered jacuzzi.<br />
Once guests are relaxed, culinary delights await at Chef Ralf<br />
Berendsen’s two-Michelin star restaurant La Source, which<br />
charms with signature dishes such as trio of langoustine<br />
with tandoori masala, miso and couscous, and at Le Bistrot,<br />
where guests can enjoy classic dishes made from carefully<br />
selected regional and seasonal products. All the gourmet<br />
delights can be accompanied by one of the more than 400<br />
wines that await in Domaine La Butte aux Bois’s vaults. The<br />
resort also specialises in providing experiences that take<br />
advantage of its exceptional location and facilities such<br />
as a Game Brunch on 20 October – including a guided<br />
hike through the Hoge Kempen with a ranger – or the New<br />
Year’s Eve Gala, which features four courses of culinary joy<br />
in the majestic Napoléon ballroom. labutteauxbois.be<br />
Maastricht Airport: 12miles/19km<br />
21 NetJets
essentials<br />
For the Helix Collection –<br />
stainless steel coffee and tea<br />
service sets – GEORG JENSEN<br />
collaborated with Swedish<br />
designers Bernadotte & Kylberg.<br />
georgjensen.com<br />
Scent to Go from JO MALONE is a<br />
clever way to perfume small spaces<br />
when you’re on the move, with<br />
fragances including English Pear<br />
& freesia. jomalone.com<br />
FLORIS‘s Vert Fougère balances<br />
tradition and innovation in a blend<br />
that offers smoky, velvety and<br />
woody accords. florislondon.com<br />
SALVATORE FERRAGAMO‘s Gentil<br />
Suono is a woody floral musk<br />
for men and women. ferragamo.com<br />
Escorial Albany trilby and Escorial<br />
baseball cap from London hatters<br />
LOCK & CO. lockhatters.co.uk<br />
AESOP, whose products are<br />
stocked on board NetJets flights,<br />
has produced Seeking Silence<br />
Facial Hydrator, a lightweight<br />
moisturising lotion designed to<br />
bring a sense of calm to sensitive<br />
skin. aesop.com<br />
A new range<br />
from DUNHILL, the<br />
Belgrave Collection<br />
includes this small<br />
crossbody bag in<br />
leather with the<br />
brand’s signature<br />
Engine Turn pattern<br />
at buckle closure.<br />
dunhill.com<br />
Scents of New York:<br />
MALIN+GOETZ’s leather<br />
is a modern update on<br />
the old-age practice<br />
of using fragrances on<br />
goods made of the<br />
eponymous material,<br />
while LE LABO has<br />
added to its City<br />
Exclusive line with the<br />
Miami-inspired Tabac<br />
28. malinandgoetz.com;<br />
lelabofragrances.com<br />
COURTESY OF THE VENDORS<br />
22 NetJets
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essentials<br />
WESTWARD HO<br />
The rugged hinterlands of the American<br />
West are becoming more comfortable thanks<br />
to an influx of hostelries and restaurants<br />
bringing urban comforts. By Jen Murphy<br />
The West is still wild but, luckily, you won’t need to<br />
rough it like a frontiersman thanks to UNDER CANVAS<br />
(undercanvas.com). The glamping outfitter’s new<br />
26-tent site combines the best of camping and cowboy<br />
life with a location adjacent to Arizona’s cactus-studded<br />
Saguaro National Park and steps from the dining and<br />
amenities of luxe-dude ranch Tanque Verde. Guests can<br />
play wrangler by day, then toast s’mores and stargaze on<br />
the deck of their palatial safari tent at night.<br />
On the rugged coast of Oregon, glamping gets a New<br />
Nordic twist at BAY POINT LANDING (baypointlanding.<br />
com). Angular, Scandi-influenced cabins designed by<br />
acclaimed California studio R&A Architecture are outfitted<br />
with warm Pendleton blankets, Beekman 1802 amenities<br />
and smart TVs with Hulu and Netflix, just in case you get<br />
bored with the ocean views.<br />
Colorado’s backcountry finally has a base that rivals<br />
the gourmet mountain huts of Europe. Set at 3,353 metres<br />
in the San Juan mountain range, RED MOUNTAIN ALPINE<br />
LODGE (redmountainalpinelodge.com) is a timber A-frame<br />
Clockwise from top: a Bay Point Landing cabin; glamping at<br />
Under Canvas; Cheyenne Club restaurant at The Farm at Bush Creek;<br />
view from The Lodge at Blue Sky<br />
with three private rooms and a large loft that sleeps up to<br />
20. Radiant-floor heating, a wood-burning sauna and a wine<br />
collection with a stellar selection of Châteauneuf-du-Pape<br />
ensure guests keep cosy in winter. But the real draws are the<br />
in-house guides and hundreds of hectares of tree-skiing right<br />
out the front door.<br />
In Utah, the new LODGE AT BLUE SKY (aubergeresorts.<br />
com/bluesky), located just outside Park City, debuts an<br />
exclusive heli-ski programme this winter giving powderhounds<br />
with deep pockets access to three private ski zones in the<br />
Uinta and Wasatch mountain ranges. Lay fresh tracks in<br />
alpine bowls and steep chutes all morning, then return and<br />
indulge with refined mountain fare at Yuta restaurant or with<br />
a flight of whiskeys at on-site distillery High West.<br />
The culinary factor has also been upped in Saratoga,<br />
Wyoming, where the debut of THE FARM AT BRUSH CREEK<br />
RANCH (brushcreekranch.com) takes the seed-to-table concept<br />
to new levels. Tasting menus at the Cheyenne Club restaurant<br />
showcase ingredients produced in the on-site creamery,<br />
bakery and 1,858sq m organic greenhouse as well as meat<br />
from the farm’s herd of Japanese Wagyu cows. Hidden below<br />
the dining room, you’ll find a James Bond-worthy speakeasy<br />
stocked with rare whiskeys and a 30,000-bottle wine cellar.<br />
© BAY POINT LANDING, © LODGE AT BLUE SKY, © UNDER CANVAS, © BRUSH CREEK RANCH<br />
24 NetJets
MARK BRADFORD<br />
CERBERUS<br />
2 OCTOBER – 21 DECEMBER <strong>2019</strong><br />
LONDON<br />
WWW.HAUSERWIRTH.COM<br />
MARK BRADFORD, THE PATH TO THE RIVER BELONGS TO ANIMALS, <strong>2019</strong>, MIXED MEDIA ON CANVAS, 168.9 × 228.9 CM / 66 1/2 × 90 1/8 IN, PHOTO: JOSHUA WHITE
essentials<br />
NOTES FROM <strong>NETJETS</strong><br />
The faces behind the firm, exclusive Owners’ events and more<br />
ON THE VINE<br />
In July, NetJets Owners were invited to attend a tour of the world-renowned Château Cheval Blanc, followed by<br />
a wine tasting and lunch in the stunning surroundings of the winery, where vines have been grown as far back as<br />
the 15th century. Since the acquisition of the vineyard by LVMH chairman Bernard Arnault and the late Belgian<br />
billionaire Albert Frère in 1998, it has undergone some dynamic regeneration and Owners were able to enjoy<br />
the magnificent sights – and produce – of the state-of-the-art cellars. For more on the past and present of the<br />
Cheval Blanc vineyard, see In Praise of Provenance, page 66.<br />
MATTHEW WALDER<br />
26 NetJets
YOU STARTED AT <strong>NETJETS</strong> IN … 2005 as a pilot on the Citation XL,<br />
then joined the training team as a Line Trainer in 2006.<br />
INSIDE TRACK<br />
Jérôme Verhaegen<br />
Head of Crew Training<br />
YOUR NORMAL DAY CONSISTS OF … working closely with the Crew<br />
Training team, while collaborating with Flight Operation, to support and<br />
manage the flying and ground Instructors, to produce and follow up the<br />
delivery of all flying and cabin crew training programmes. This includes<br />
ground course, simulator and Line Flying Training. This is quite a challenge as<br />
we are currently developing the training for six different fleets, working with<br />
14 different licensing authorities and performing simulator training at eight<br />
different simulator centres. Safety being our No 1 priority, we need to ensure<br />
that all crew members are trained to the highest level of proficiency and<br />
are able to enhance the Owner experience in all different situations, weather<br />
and airports independently of the conditions or accessibility.<br />
THE BEST THING ABOUT YOUR JOB IS … the team I’m working with<br />
on a day-to-day basis. All are real professionals and are very proud to work<br />
for NetJets. The team is solution-oriented and will always try to enhance<br />
the Owner experience and foster safety. This is based on strong values like<br />
professionalism, passion, collaboration and teamwork. On a personal note,<br />
the reward of helping pilots and cabin crew to acquire and maintain the<br />
best proficiency level even when facing difficult times.<br />
THE BIGGEST CHALLENGE YOU FACE IN YOUR ROLE IS … to make<br />
sure that we stay on top of all the different regulations and training<br />
processes, to ensure the best possible training delivery and crew satisfaction.<br />
NATHAN GALLAGHER; ILLUSTRATION: JULIAN RENTZSCH<br />
BASEL AND BEYOND<br />
NetJets’ relationship with the world-leading art show, now in<br />
its 18th year, is as strong and productive as ever<br />
NetJets has yet again this year created<br />
events in Art Basel and Art Basel Miami<br />
Beach, with a VIP lounge within the<br />
Collectors’ Area that provides owners with<br />
hospitality throughout the week. And each<br />
year is marked by a collaboration with<br />
artists of renown, creating an installation<br />
that enhances the experience beyond a<br />
mere escape from the hustle and bustle of<br />
the show. American painter, sculptor and<br />
photographer Matthew Day Jackson, left,<br />
is this year’s chosen artist and his Solipsist<br />
series (2018), was shown in NetJets VIP<br />
Lounge at Art Basel and will be on display<br />
at Art Basel Miami in December. The<br />
paintings are aerial views of landscapes<br />
that are disappearing due to climate<br />
change, with a single satellite looking on<br />
from above. Made of silkscreened Formica<br />
with cast-lead elements, the laser-etched<br />
images are uncanny maps, both emotive<br />
and conceptual, of the Earth and our place<br />
in it. Art Basel takes place every June;<br />
Art Basel Miami Beach, 5-8 December;<br />
artbasel.com<br />
27 NetJets
on the pulse<br />
OUR FLEET<br />
The 750 aircraft – a variety of types across four cabin classes – are all outfitted to NetJets’ highest standards.<br />
This issue, we showcase the Cessna Citation Latitude, a midsize cabin jet of consummate class<br />
MIDSIZE CABIN<br />
CESSNA CITATION LATITUDE<br />
Typical flight<br />
London/Baku<br />
Range (distance)<br />
3,155sm /<br />
5,077km<br />
Range (hours)<br />
7,hrs<br />
Speed<br />
495mph/797kph<br />
Passenger capacity<br />
7 (Up to 8 with<br />
belted lavatory)<br />
Cabin height<br />
6ft/1.83m<br />
Cabin width<br />
6.4ft/1.95m<br />
Cabin length<br />
21.75ft/6.63m<br />
NetJets worked extensively with Cessna to design a<br />
midsize aircraft with the amenities of a large cabin<br />
jet combined with the nimble performance of a light<br />
one. The Citation Latitude hosts a range of state-ofthe-art<br />
onboard technology, including Inmarsat’s Swift<br />
Broadband, a Satellite-based wifi system accessible<br />
across the globe.<br />
LIGHT CABIN<br />
EMBRAER PHENOM 300<br />
LARGE CABIN<br />
DASSAULT FALCON 2000 E X<br />
Typical flight<br />
London/Berlin<br />
Range (distance)<br />
1,689sm/2,718 km<br />
Range (hours)<br />
4hrs<br />
Speed<br />
495mph/797kph<br />
Passenger capacity<br />
6 (Up to 7 with<br />
belted lavatory)<br />
Cabin height<br />
4.9ft/1.49m<br />
Cabin width<br />
5.1ft/1.55m<br />
Cabin length<br />
17.2ft/5.24m<br />
Typical flight<br />
London/Dubai<br />
Range (distance)<br />
4,260sm/6,855km<br />
Range (hours)<br />
8hrs 45minutes<br />
Speed<br />
528 mph/850 kph<br />
Passenger capacity<br />
10<br />
Cabin height<br />
6.2ft/1.88m<br />
Cabin width<br />
7.7 ft/2.34m<br />
Cabin length<br />
31ft/9.45m<br />
SUPER-MIDSIZE CABIN<br />
BOMBARDIER CHALLENGER 350<br />
LARGE CABIN<br />
BOMBARDIER GLOBAL 6000<br />
Typical flight<br />
London/Riyadh<br />
Range (distance)<br />
3,786sm/6,093km<br />
Range (hours)<br />
7hrs 45mins<br />
Speed<br />
540mph/869 kph<br />
Passenger capacity<br />
9 (up to 10 with belted<br />
lavatory)<br />
Cabin height<br />
6.08ft/1.85m<br />
Cabin width<br />
7.17ft/2.19 m<br />
Cabin length<br />
28.6 ft/8.7m<br />
Typical flight<br />
London/Tokyo<br />
Range (distance)<br />
7,123sm/11,472km<br />
Range (hours)<br />
13hrs 50mins<br />
Speed<br />
560mph/901kph<br />
Passenger capacity<br />
13 (up to 14 using<br />
the crew rest area)<br />
Cabin height<br />
6.25ft/1.9m<br />
Cabin width<br />
8.2ft/2.5m<br />
Cabin length<br />
48.1ft/14.7m<br />
28 NetJets
and present, all pulling together to get the<br />
aircraft that I pilot airborne safely. For me to<br />
be offered the captain’s seat in this human<br />
endeavour is an immense privilege, and one<br />
that must be earned every day.<br />
BEFORE JOINING THE <strong>NETJETS</strong> TEAM,<br />
I WAS … among other things, training for<br />
my private pilot’s licence and then working<br />
as an instructor in the same school where I<br />
got it on light aircraft in Cannes. I had no<br />
money, so I’d actually paid for my licence<br />
with 500 T-shirts. The owner gave me a<br />
chance by letting me offer him the shirts in<br />
exchange for the flying as he thought the<br />
company was going bust. Then it did<br />
and when the firm was reborn, I became<br />
an instructor and then chief instructor.<br />
JULIAN RENTZSCH<br />
PILOTS IN PROFILE<br />
Adam Firth<br />
Captain on the Dassault Falcon fleet<br />
MY FIRST EXPOSURE TO FLYING WAS …<br />
on a BOAC Bristol Britannia from London to<br />
Georgetown, Guyana, via New York. I was<br />
five years old and I have a picture of myself in<br />
the captain’s seat of that aircraft. And I keep<br />
that picture in my pilot’s licence to this day.<br />
I lived in Guyana until I was ten years old. I<br />
really lived a Huckleberry Finn life by the side<br />
of the mighty Demerara River, which was the<br />
only link to the outside world. The company<br />
my father worked for had two aircraft – a<br />
Grumman Goose and a de Havilland<br />
DHC-3, both of which took off from the river.<br />
Sometimes our company pilot would strap me<br />
into the copilot seat and the dream was born.<br />
THE BEST PART OF FLYING IS …<br />
experiencing the marriage of team, machine<br />
and dynasty. The combined coordinated<br />
skill and positive intent of many people, past<br />
ONE THING OWNERS PROBABLY<br />
WOULDN’T GUESS ABOUT ME IS ...<br />
I initially trained as an artist and printer.<br />
I specialised in making portraits of people.<br />
I spent two years in Tamil Nadu, India,<br />
teaching art and makng portraits of local<br />
temple sculptors and musicians, some<br />
of whose families had been in the same<br />
profession for over 4,000 years.<br />
ON MY DAYS OFF … I teach people to fly<br />
into little mountain strips in the French Alps.<br />
I renewed my instructor’s rating and added<br />
a mountain rating. I teach people to land<br />
on glaciers on ski-equipped aircraft. And in<br />
the winter time, I do cross-country skiing.<br />
WITHIN THE NEXT FEW YEARS, I<br />
WOULD LIKE TO … retire! Which I will<br />
do in two years, but at the moment I am<br />
continuing to fly full-time. After that I would<br />
like to wind down my career and increase<br />
the amount of mountain flight I do.<br />
MY PROUDEST MOMENT AS A PILOT<br />
WAS … probably what most captains<br />
are going to say: definitely taking my first<br />
command in NetJets on the Hawker. It<br />
was from Samedan to Moscow. At 1,700<br />
metres in a very, very steep-sided valley<br />
in Switzerland. And in the winter time, it’s<br />
covered in snow. So it’s challenging but it’s<br />
very interesting. That was a good start<br />
and my father was alive at that time and it<br />
was a great moment for him too.<br />
29 NetJets
owners profile<br />
THE ULTIMATE FREEDOM<br />
30 NetJets
Italian couture titans Domenico Dolce<br />
and Stefano Gabbana muse on<br />
what makes their style unique and why,<br />
unlike some luxury brands with<br />
billion-euro turnovers, they remain<br />
fiercely independent<br />
By Avril Groom<br />
Designer duo Stefano<br />
Gabbana, left, and<br />
Domenico Dolce<br />
remain bold spirits in<br />
the fashion world<br />
STEFANO BABIC<br />
Dolce & Gabbana’s autumn/winter<br />
19/20 show – held as usual in their<br />
own fashion theatre in Milan – was<br />
elegant and, by their standards,<br />
surprisingly restrained. Entitled “Eleganza”<br />
and with the words “Fatto a mano” (made by<br />
hand) embroidered on some dresses, it drew<br />
attention to the timeless crafts that are essential<br />
to their beautifully constructed tailoring and<br />
exuberantly embellished evening wear.<br />
In place of the over-the-top inclusions of<br />
recent shows – such as casts of hundreds and<br />
stars like Monica Bellucci, Isabella Rossellini<br />
and former French First Lady Carla Bruni<br />
Sarkozy – instead the spectacle included<br />
a black-and-white video of the designers’<br />
workrooms, which looked almost as if it had<br />
been filmed in the 1950s. After a somewhat<br />
controversial year, it was a reminder of their<br />
origins in the glorious bella figura of Italian<br />
style, in the Catholic culture, lush gardens<br />
and food, in their love of gold-braided pomp<br />
and even the gangsterism of Dolce’s native<br />
Sicily. It was a marked shift in emphasis<br />
from high-octane glamour to powerfully<br />
alluring investment dressing, but, as proudly<br />
independent designers, Domenico Dolce<br />
31 NetJets
owners profile<br />
and Stefano Gabbana have plenty of<br />
confidence to do this.<br />
Both designers sum up the advantage of<br />
this independent status – and spirit – in one<br />
word: freedom. “Being free allows us to express<br />
our creativity without any constraint, the most<br />
important aspect of our work as designers,”<br />
they say. “It’s essential and has allowed us to<br />
build our message, a narrative that is clearly<br />
reflected in our collections.” This aesthetic is<br />
based, according to Dolce, on “contrast – our<br />
style results from opposites coming together.<br />
We mix different shapes and styles, exploring<br />
all possible alternatives. On one side we have<br />
the corset, black sheath dresses, lace skirts, all<br />
very sensual. On the other side there are the<br />
men’s-cut clothes, T-shirts and sneakers.”<br />
Gabbana sees it more as an expression of<br />
Italian culture. “Our design DNA is a mix of<br />
elements based on our history of love, passion<br />
for Italy, fashion, culture and the family,” he<br />
says. Rather than being interested in fashion<br />
trends, he says, “we create clothes and<br />
accessories that talk about us and our love<br />
for life. We keep up with what is happening:<br />
we research, we look for new and different<br />
fabrics, we read, but above all we are inspired<br />
by life, people and love.” Travel is another<br />
creative driving force: “It makes us dream,”<br />
they say and appreciate how their status as<br />
NetJets Owners helps cater to this desire.<br />
Despite being outside the all-powerful<br />
fashion combines, through judicious<br />
partnerships with manufacturers Dolce<br />
& Gabbana has built a full-scale fashion<br />
empire that includes handbags, shoes,<br />
sunglasses, perfumes and cosmetics, and<br />
watches and jewellery. It also includes, in a<br />
very unorthodox move, its Alta Moda, the<br />
Italian equivalent of haute couture – oneoff,<br />
hand-made, often elaborate items, fitted<br />
and sometimes totally designed for one<br />
client and never repeated exactly for another.<br />
It is a time-consuming and very costly<br />
operation that many houses treat more as a<br />
promotional necessity. Traditional couture<br />
”Alta Moda allows us to<br />
push our creativity to the extreme<br />
– we never have limits”<br />
MONICA F<strong>EU</strong>DI<br />
32 NetJets
A quartet of bravura<br />
creations from Dolce<br />
& Gabbana’s autumn/<br />
winter 19/20 collections<br />
houses like Chanel, Dior and Valentino<br />
started with this and then branched into<br />
ready-to-wear and accessories; Dolce &<br />
Gabbana’s decision to reverse the route is<br />
indicative of their sense of freedom, and it<br />
provides a business model that other brands<br />
are examining, now that the desire for the<br />
unique among the most demanding global<br />
clients sees them increasingly patronising<br />
haute couture.<br />
“We are not interested in fashion directions,<br />
the so-called ‘trends’; we just want to fulfil the<br />
dreams of our customers,” says Dolce. “Alta<br />
Moda was our dream and we waited for the<br />
right time to do it. In 2012 we presented the<br />
first collection in Taormina, Sicily, and we have<br />
so many good memories of that show, which<br />
marked a huge change. Alta Moda allows us to<br />
push our creativity to the extreme – we never<br />
have limits.” Gabbana credits their “team of<br />
super-talented tailors and seamstresses who<br />
work with us”, a prime example of the muchvaunted<br />
“Made in Italy” tradition.<br />
That first show set another Dolce &<br />
Gabbana pattern: twice-yearly displays of<br />
the most exquisitely detailed and decorated<br />
clothes, in a sumptuous, sometimes exotic,<br />
location, for which clients and carefully<br />
selected press are flown in to a three-day<br />
party, that now includes reveals of the men’s<br />
version – Alta Sartoria – and unique highjewellery<br />
pieces and watches, all spun off<br />
from the success of that first collection. It is<br />
eminently social; clients renew friendships<br />
with each other, as well as with the designers.<br />
“We simply try to make them part of a real<br />
family. We listen to them, we chat, we spend<br />
time with them, building a relationship based<br />
on humanity,” says Dolce. The clients have,<br />
they say, been equally enthusiastic about the<br />
accessories, unique examples of the best Italian<br />
craft tradition in jewellery and watch-dial<br />
making. “We like the idea of creating small<br />
marvels that are collectables and that fulfil<br />
our customers’ wishes,” they say. “To achieve<br />
them takes time, work and a great passion for<br />
what you are doing, and our customers are very<br />
enthusiastic about this.”<br />
This July, they returned to Sicily for an<br />
extravaganza set in the town that was the home<br />
of Giuseppe Tomasi di Lampedusa, author of<br />
The Leopard, one of their constant inspirations,<br />
that took years to plan. Displayed among the<br />
gloriously opulent clothes and jewels for both<br />
sexes was their latest project: ornately engraved<br />
gold and jewelled watches with a specially<br />
designed movement that bring the brand into<br />
yet another area of high-end luxury.<br />
The pair are certainly not resting on their<br />
laurels and are constantly seeking new markets<br />
and new ways to spread their vision to a wider<br />
customer base. Traditionally, the pinnacle of<br />
fashion was aimed at a more mature client<br />
on the assumption that few younger people<br />
could afford it and those who could would<br />
be introduced by their families. Now wealthy<br />
millennials brought up on social media are<br />
key, especially in the Far East, and Dolce &<br />
Gabbana has been quick to capitalise, with<br />
Instagram-ready, teen-star front rows and<br />
the newest model names. Despite the pair’s<br />
assertion that they “don’t like quantifying what<br />
we do in terms of income – we are happy with<br />
a millennial clientele but we love all customers<br />
equally”, they and their advisers are clearly<br />
nimble and shrewd.<br />
They are also authentic in a way that<br />
some big luxury brands are charged with no<br />
longer being. They are now not the couple<br />
in life that they were when they started, but<br />
the success of their vision depends on the<br />
dynamic between them and, as Dolce points<br />
out, “We are united by a strong affection,<br />
certain ties will never break.”<br />
“I don’t know what I’d do without<br />
Domenico!” exclaims Gabbana. “Of course<br />
we fight, we have different ideas and opinions<br />
and sometimes it takes a while before we get<br />
to a decision. But in the end we always find<br />
the solution that makes us both happy and<br />
satisfied. We are two sides of the same coin.”<br />
As to the future, with designers such as<br />
Giorgio Armani and the late Karl Lagerfeld<br />
working well into their eighties, at 61 and 56,<br />
respectively, neither Dolce nor Gabbana is<br />
looking to retire, or to change their business<br />
model, any time soon. Which should keep<br />
their wide-ranging legion of fans, so well<br />
reflected on their catwalks, very happy indeed.<br />
dolcegabbana.com<br />
33 NetJets
WHERE<br />
ELEGANCE MEETS<br />
ADRENALINE<br />
The Global Champions League<br />
is the equestrian series<br />
taking the sport to new heights<br />
By Leslie Threlkeld<br />
34 NetJets
clearing fences<br />
S<br />
how jumping might have been<br />
inspired by the fox hunt – horses<br />
needed to jump hedges and fences<br />
in order to follow the hounds – but<br />
the sport has come a long way since those<br />
early days in the English countryside.<br />
Indeed, Olympic medals for show<br />
jumping have been given out continuously<br />
since 1912, making it one of the oldest<br />
events in the games, and in recent years<br />
the Global Champions League (GCL) has<br />
offered the sport’s elite an opportunity to<br />
showcase its dizzying mélange of tradition,<br />
athleticism, teamwork and training in some<br />
of the world’s most spectacular locales – all<br />
of which are a long way from the British<br />
countryside.<br />
Unlike many other Olympic sports, which<br />
maintain the country-centric classification<br />
in between the quadrennial events, show<br />
jumping at the highest level has become like<br />
international club football, where individual<br />
teams bring together athletes from different<br />
nations as a unit.<br />
The GCL piggybacks on the similarly<br />
named Longines Global Champions Tour<br />
(LGCT) schedule, which since 2006 has<br />
invited World and Olympic champions to<br />
compete for unprecedented prize money.<br />
A minimum of €300,000 is up for grabs at<br />
individual competitions, and the overall<br />
series classification allots €950,000 to the top<br />
18 athletes.<br />
LGCT founder and President Jan Tops,<br />
an Olympic show jumping gold medallist<br />
himself, set out to develop a series that<br />
would raise the standards of competitive<br />
show jumping across the globe. Established<br />
35 NetJets
clearing fences<br />
in 2016, the GCL specifically serves to bond<br />
riders from multiple countries in a year-long<br />
battle of skills on horseback that guarantees<br />
to excite crowds, bolster the sport and unite<br />
equestrian enthusiasts everywhere.<br />
Brazil’s Yuri Mansur is a member of the<br />
Paris Panthers team alongside former World<br />
No 1 Harrie Smolders of the Netherlands,<br />
Egypt’s Nayel Nassar, Darragh Kenny<br />
of Ireland, Belgian Olympian Gregory<br />
Wathelet and America’s rising star Jennifer<br />
Gates (see in conversation with, p82).<br />
Mansur, who began competing in the GCL<br />
in 2017 as a member of the Mexico Amigos,<br />
joined the Paris Panthers last year at Gates’<br />
invitation. “GCL is a door for a modern<br />
sport. It is a new point of view for team<br />
competition and adds lots of value to our<br />
sport,” he says. “It is very rich and we always<br />
learn with each other.”<br />
Uniquely designed to magnify the talents<br />
of each team, the GCL is carefully organised<br />
to reward consistent success. A maximum of<br />
20 teams, made up of four to six riders, must<br />
designate two or three people to compete at<br />
each show, beginning with the season opener<br />
at Doha in February and ending at the final<br />
in Prague in November.<br />
“Ultimately, the more clear rounds we can<br />
jump as a unit, the better off we all are,” says<br />
Nassar, who has ridden with the Panthers for<br />
three years and is currently ranked 37th in<br />
the world. “Just like horses, though, no two<br />
riders are ever the same, so even though we<br />
certainly have distinct strengths, it would<br />
be hard to pinpoint exactly what those may<br />
be. Having an aligned set of goals makes it<br />
easy for us to support one another. When one<br />
of us has a good round, it inspires the rest to<br />
follow suit in order to keep the team on the<br />
lowest possible score.”<br />
The teams themselves are built specifically<br />
to combine experienced talent with up-andcoming<br />
stars of the sport. A minimum of two<br />
athletes must rank within the top 250 of the<br />
ASHLEY N<strong>EU</strong>HOF<br />
36 NetJets
From far left: Nayel<br />
Nassar and Jennifer<br />
Gates in Hamburg,<br />
where their Paris<br />
Panthers team took<br />
third place; teammate<br />
Darragh Kenny at the<br />
Chantilly event<br />
Previous page: Harrie<br />
Smolders in action at<br />
Miami Beach<br />
Longines FEI Jumping World Rankings as<br />
of 31 August of the previous year. Teams are<br />
encouraged to bring on board at least one<br />
athlete who is 25 years of age or younger, a<br />
position filled for the Panthers by 23-yearold<br />
Gates.<br />
Throughout the season, GCL competitions<br />
consist of two jumping rounds set anywhere<br />
from 1.5 to 1.6 metres in height, the same as<br />
Olympic competition. The fastest time with<br />
the fewest penalties (given as the result of<br />
wood-core rails falling out of their supporting<br />
cups due to a careless hoof ) is rewarded with<br />
points on the leaderboard as well as additional<br />
prize offerings for clear, or zero penalty, rounds<br />
— which is to say, as much as €50,000 for<br />
avoiding mistakes. The scores of each team’s<br />
designated athletes are combined, and points<br />
relative to the team’s overall placing are applied<br />
to the year-end leaderboard.<br />
After ten months of thrilling, edge-ofyour-seat<br />
riding, teams convene in Prague<br />
for the series conclusion, where the quarterfinal,<br />
semi-final and final determine the<br />
overall winner. With each round, teams are<br />
eliminated, and the tension builds to an<br />
incredible race for the win, which requires<br />
equal parts bravery and caution.<br />
Rob Hoekstra is the team manager for the<br />
Paris Panthers and encourages the riders to<br />
work together more intently to achieve their<br />
goals. The team finished third at Valkenswaard<br />
in August, and four team members are ranked<br />
in the top 30 on the LGCT. They were also<br />
third in June at Cascais/Estoril and Hamburg.<br />
A second-place team finish is their best of the<br />
<strong>2019</strong> series, earned in Shanghai in May. The<br />
Panthers still have some ground to cover; at<br />
the time of writing, they were placed tenth in<br />
the League. In show jumping, however, it’s not<br />
over until the final fence is jumped, and three<br />
series competitions remain on the schedule.<br />
“[Hoekstra] generally wants the best horse<br />
and rider combinations [competing] at any<br />
given time. That being said, we will analyse<br />
our team’s performance and take a hard<br />
look at which horses and riders are in the<br />
best form come November,” Nassar says<br />
of the Panthers’ strategy looking ahead to<br />
the final. “Prague is the only indoor venue<br />
on the tour, so we will have to factor in our<br />
horses’ strengths, too, as some are more<br />
suited to that type of venue. Accordingly,<br />
we will decide who represents the Panthers<br />
in Prague, but the strategy is always to jump<br />
as many clear rounds as possible, and I don’t<br />
see that strategy changing any time soon.”<br />
While a top placing is ideal, the<br />
relationships developed over a year of<br />
chasing a common goal, in beautiful places<br />
across the globe and with knowledgeable<br />
onlookers watching intently, is, at the very<br />
least, a reward. Mansur cites the entire year<br />
as being a memorable experience. “The<br />
way we are dealing with the team is very<br />
good. We had some [losses], but … we are<br />
still able to manage and to guarantee good<br />
results during the season.”<br />
For Nassar, the memories made are more<br />
specific: “So far, my most memorable show<br />
was certainly GCL Hamburg. Jenn and I<br />
rode on the team together for the first time<br />
this season, and we managed to squeeze<br />
onto the podium with a third place. Later<br />
on that afternoon, I was also second in the<br />
five-star LGCT Grand Prix to cap off a<br />
great week from an individual standpoint<br />
as well.”<br />
“The whole team is getting ready for<br />
the Playoffs,” Mansur says of his plans for<br />
the rest of the year. “We are making all the<br />
adjustments necessary, so we have more<br />
riders ready and good to go at the end of the<br />
year. We divide all shows during the season,<br />
so we can have the horses fresh and ready to<br />
succeed!” The Global Champions Playoffs take<br />
place in the O2 Arena, Prague, between 21 and<br />
24 November; globalchampionsleague.com<br />
Prague Airport to O2 Arena: 14miles/22km<br />
37 NetJets
LANZAROTE LOOKS<br />
The wild landscapes and whitewashed towns<br />
of the Spanish island provide an alluring backdrop<br />
to the season’s standout fashions<br />
Styled by Sayuri Bloom<br />
Photography by Stephan Glathe<br />
38 NetJets
isle of style<br />
Him: ANN DEM<strong>EU</strong>LEMEESTER<br />
dark grey linen coat,<br />
grey and dark green cotton<br />
waistcoat, camel brown<br />
linen trousers HERMÈS<br />
leather boots<br />
Her: ANN DEM<strong>EU</strong>LEMEESTER<br />
white cotton shirt<br />
and white trousers, black<br />
leather waistcoat<br />
ZUHAIR MURAD black<br />
heeled boots<br />
39 NetJets
isle of style<br />
40 NetJets
Above: MIU MIU beige shirt, corset with pockets, safari trousers and cheetah-print<br />
pumps with crystals<br />
Above right, her: ALEXANDER McQUEEN black suit with long sleeve collar detail;<br />
him: CALVIN KLEIN black-and-white check shirt LEVI‘S black jeans jacket with fake fur<br />
detail MSGM jumper (lying across the legs)<br />
Facing page: BELSTAFF dark-red leather jacket MISSONI red and purple lined trousers<br />
and knitted orange, red and purple jumper HERMÈS black leather boots<br />
41 NetJets
isle of style<br />
SYSTEM knitted roll-neck sweater, knitted vest poncho, wool coat<br />
with fake-fur collar detail<br />
Facing page: SALVATORE FERRAGAMO dark grey oversized coat with belt<br />
BELSTAFF brown leather belt BALLY leather trousers HERMÈS leather boots<br />
43 NetJets
isle of style<br />
44 NetJets
Above: THE ROW long black robe with roll-neck RALPH & RUSSO<br />
velvet belt with silver tiger heads<br />
Left, him & her: PRADA hats, coats, vest and earrings<br />
Facing page: FAITH CONNEXION black silk dress with ostrich feathers HOUSE OF MALAKAI<br />
necklace ATELIER SWAROVSKI bracelet with crystals HERMÈS black wild-leather boots<br />
45 NetJets
isle of style<br />
BRUNELLO CUCINELLI camel-brown leather jacket, grey check jacket,<br />
off-white roll-neck jumper and camel-brown cord trousers<br />
Below: SYSTEM knitted roll-neck jumper, knitted vest poncho, wool<br />
coat with fake-fur collar detail<br />
Facing page, him & her: DOLCE & GABBANA hats, vest, shirt, coats,<br />
earrings, trousers and shoes/boots CHANEL earrings<br />
46 NetJets
HAIR: PAUL DONOVAN @ CLM; MAKE-UP: KERSTIN HAYDU; ASSISTANTS: MARIO BERTIERI AND STEPHANIE DEVRED<br />
Lanzarote Airport<br />
47 NetJets
perfect timing<br />
IT’S COMPLICATED<br />
Perpetual calendars are the connoisseurs’<br />
wristwatch, and in the age of smartphones<br />
they are trending once more<br />
By Laurie Kahle<br />
O<br />
ur Gregorian calendar is full<br />
of quirks, with some months<br />
ending at 30 days, others<br />
at 31 – and then, of course,<br />
there’s February. Highly skilled watchmakers<br />
have long addressed this vexing system<br />
with a perpetual calendar complication, also<br />
known as quantième perpétuel (QP), which<br />
automatically adjusts for months of varying<br />
lengths, including leap years.<br />
Theoretically, if you kept these impressive<br />
mechanical wrist computers fully wound and<br />
optimally running, no calendar adjustment<br />
would be necessary until 1 March 2100, when<br />
Pope Gregory XIII’s idiosyncratic, 16thcentury<br />
calendar dictates we skip the leap year.<br />
The mechanism’s inherent technicity<br />
makes it a testament to the skills of any<br />
watchmaker who can master it. And, as a<br />
result, perpetual calendars have long been the<br />
provenance of the most discerning collectors.<br />
This year, several brands are offering new<br />
takes on the perpetual calendar, from<br />
classical to contemporary, elegant to sporty.<br />
A few other manufacturers have adjusted<br />
their models to make the connoisseurs’<br />
complication more broadly appealing.<br />
With a history that spans 264 years,<br />
VACHERON CONSTANTIN (vacheronconstantin.com)<br />
has more experience than<br />
48 NetJets
owner profile<br />
Frederique Constant<br />
Perpetual Calendar<br />
Tourbillon Manufacture<br />
XXXXXXXXXXXXX<br />
Facing page left to right:<br />
Chopard LUC All-in-One;<br />
Bovet Retrograde Perpetual<br />
Calendar Récital 21<br />
49 NetJets
perfect timing<br />
Clockwise from top left: Jaeger-LeCoultre Master Ultra Thin Perpetual Enamel; Montblanc Heritage<br />
Perpetual Calendar; Vacheron Constantin Traditionnelle Twin Beat Perpetual Calendar<br />
most with perpetuals. This year, the Swiss<br />
brand took the genre to an entirely new<br />
level with the innovative Traditionnelle<br />
Twin Beat Perpetual Calendar, devised with<br />
two balances, each operating at different<br />
frequencies. A pusher allows you to switch<br />
between active mode at 5Hz (36,000vph)<br />
with four days of power reserve, and standby<br />
mode at 1.2Hz (8,640vph), which extends<br />
the power reserve to at least 65 days, reducing<br />
the need to reset the watch if the power runs<br />
down when you’re not wearing it.<br />
Also appealing to its heritage, BOVET<br />
(bovet.com) brought a new twist to the<br />
traditional perpetual with the Retrograde<br />
Perpetual Calendar Récital 21, noteworthy<br />
for its unconventional design, a hallmark<br />
of the brand that dates back to the 19th<br />
century. Hours and minutes are read on a<br />
small centre dial, encircled by a retrograde<br />
date display. Apertures reveal the day, month<br />
and leap year cycle. The inclined case shape,<br />
inspired by an old writing desk, allows<br />
enough volume for the small seconds hand<br />
to sweep beneath the central dial in another<br />
unexpected flourish.<br />
Aesthetic delight is equally in focus at<br />
AUDEMARS PIGUET (audemarspiguet.com),<br />
which made a splash with this year’s launch<br />
of CODE 11.59, a full-scale collection that<br />
includes an elegant perpetual calendar with<br />
a sparkly aventurine glass dial. While hardly<br />
radical, CODE broke from convention with<br />
a 41mm multipart case that alludes to the<br />
brand’s bread-and-butter Royal Oak, with<br />
an octagonal middle case and hexagonal<br />
screws. The double-curved concave/convex<br />
crystal visually enhances the dial.<br />
Tradition is a powerful force in<br />
watchmaking, and many new perpetual<br />
calendars adhere to established aesthetic<br />
codes with calendar information presented<br />
on three sub-dials, often paired with a moon<br />
phase display for good measure. In recent<br />
years, PARMIGIANI FL<strong>EU</strong>RIER (parmigiani.<br />
com) has revisited its classical Toric collection,<br />
embodying Michel Parmigiani’s devotion to<br />
the golden ratio. This year, the brand presented<br />
a new variation of its first wristwatch, the<br />
Toric QP Retrograde, which debuted in 1999.<br />
The design’s signature hand-knurled bezel<br />
is preserved, while the case, lugs and crown<br />
have been subtly streamlined and tweaked<br />
for enhanced ergonomics. The new Toric<br />
Quantième Perpétuel Rétrograde features an<br />
instantaneously jumping retrograde date and<br />
a precision moon phase that requires only one<br />
correction every 122 years.<br />
The latest Master Ultra Thin Perpetual<br />
Enamel from JAEGER-LECOULTRE (jaegerlecoultre.com)<br />
has also undergone a stunning<br />
transformation with an updated JLC 868<br />
movement that rotates the displays 180<br />
50 NetJets
While perpetual calendars traditionally<br />
have been dress watches,<br />
old-school rules no longer apply<br />
degrees, placing the moon phase at the<br />
bottom of the dial. The 39mm white gold<br />
limited edition of 100 stands apart with its<br />
radiant hand-enamelled guilloché-engraved<br />
dial layered with lustrous blue enamel.<br />
Steeped in classicism, BLANCPAIN’s<br />
(blancpain.com) Villeret Quantième Perpétuel<br />
6656 also got a makeover in a limited edition<br />
with a sunray blue dial. Restricted to 88<br />
pieces, the slim, solid platinum version is<br />
exclusively available in the brand’s boutiques.<br />
Not one but three new perpetual calendars<br />
based on models from the past feature in A<br />
LANGE & SÖHNE’s (alange-soehne.com)<br />
latest offerings, including the Langematik<br />
Perpetual Honey Gold. And in April, the<br />
brand further flaunted its technical expertise by<br />
unveiling a silver anniversary limited edition,<br />
commemorating the modern relaunch of the<br />
brand in 1994, with the Lange 1 Tourbillon<br />
Perpetual Calendar 25th Anniversary<br />
comprising 25 pieces in white gold with a<br />
blue-printed argenté-coloured dial.<br />
Last year, CHOPARD (chopard.com)<br />
revisited its super-complicated LUC Allin-One,<br />
which debuted in 2010 to mark<br />
the brand’s 150th anniversary. Two new<br />
redesigned limited editions in rose gold and<br />
platinum feature dual dials, with perpetual<br />
calendar and tourbillon on the front and<br />
astronomical functions on the back, making<br />
the All-in-One the most complicated watch<br />
that the brand has ever built.<br />
While perpetual calendars traditionally<br />
have been dress watches, old-school rules no<br />
longer apply. GIRARD-PERREGAUX’S (girardperregaux.com)<br />
Laureato Perpetual Calendar<br />
introduced the complication into the brand’s<br />
sporty steel model, originally launched in the<br />
1970s. The unusual asymmetrical dial layout<br />
features different sized sub-dials displaying<br />
date, day and leap year, while the month<br />
Clockwise from top left: Audemars Piguet CODE 11.59; Parmigiani Fleurier Toric Quantième Perpétuel<br />
Rétrograde; A Lange & Söhne Langematik Perpetual Honey Gold; Baume & Mercier Clifton Baumatic<br />
Perpetual Calendar<br />
51 NetJets
perfect timing<br />
These watches demonstrate the<br />
wearer’s appreciation for craftmanship<br />
Above: IWC Pilot’s Watch<br />
Perpetual Calendar Chronograph<br />
“Le Petit Prince”<br />
Below, from left to right:<br />
Blancpain Villeret<br />
Quantième Perpétuel 6656;<br />
Girard-Perregaux Laureato<br />
Perpetual Calendar<br />
appears in an elongated aperture across the<br />
bottom of the clous de Paris textured dial.<br />
Also tracing its roots back a few decades<br />
– to the 1950s – IWC’s (iwc.com) Ingenieur<br />
collection grew this year as the brand cased<br />
the Ingenieur Perpetual Calendar Digital<br />
Date-Month in lightweight yet robust grade<br />
5 titanium, a sporty update from the 2017<br />
version in gold. The brawny 45mm flyback<br />
chronograph, limited to 100 pieces, features<br />
double-digit month and date displays in the<br />
sub-dials at 3 and 9 o’clock, and a leap year<br />
aperture in the running seconds sub-dial at 6<br />
o’clock. IWC also launched the Pilot’s Watch<br />
Perpetual Calendar Chronograph, marking<br />
the first time it combined a chronograph and<br />
perpetual calendar in a pilot model.<br />
Value is not a term one typically associates<br />
with perpetual calendars. But a few brands<br />
have managed to produce handsome,<br />
more affordable watches within the genre<br />
typically limited to horological connoisseurs.<br />
Take MONTBLANC (montblanc.com), which<br />
followed up on its 2014 Meisterstück<br />
Heritage Perpetual Calendar with this year’s<br />
Heritage Perpetual Calendar, limited to 100<br />
pieces in rose gold and unlimited in steel.<br />
The brand spent three years developing the<br />
new manufacture automatic calibre MB<br />
29.22, which replaces the typical lever-driven<br />
construction with a more user-friendly<br />
architecture using only wheels, allowing you<br />
to set the calendar in both directions. It also<br />
adds a dual-time function for travellers.<br />
Meanwhile, BAUME & MERCIER (baumeet-mercier.com)<br />
added a perpetual calendar<br />
module to last year’s milestone Baumatic<br />
line, featuring an exclusive state-of-theart<br />
movement developed with Richemont<br />
Group’s movement manufacturer Horlogère<br />
ValFleurier. Like the Montblanc Heritage<br />
Perpetual Calendar, the 42mm Clifton<br />
Baumatic Perpetual Calendar is classical by<br />
design and endowed with technical advances,<br />
such as a silicon balance spring, magnetic<br />
resistance, extended power reserve and more.<br />
Taking the notion of value-driven<br />
complications to extremes, FREDERIQUE<br />
CONSTANT (frederiqueconstant.com) introduced<br />
two new versions of its Perpetual Calendar<br />
Tourbillon Manufacture, launched last<br />
autumn to mark the brand’s 30th anniversary.<br />
Available in stainless steel and rose gold, the<br />
limited editions are priced at a fraction of<br />
what you would expect for a pairing of two of<br />
watchmaking’s most illustrious and technical<br />
complications.<br />
In our modern age, when smartphones<br />
deliver the day, date and month at your<br />
fingertips – as well as a whole lot more – a<br />
mechanical perpetual calendar on the wrist<br />
is inevitably an anachronism, but it is also a<br />
demonstration of the wearer’s appreciation<br />
for human ingenuity and craftsmanship. As<br />
we digitise ever further, there is something<br />
wonderful in this mechanical precision,<br />
especially when it comes in such a beautiful<br />
package, and without ever needing to charge<br />
the battery.<br />
ALL IMAGES COURTESY OF THE WATCHMAKERS<br />
52 NetJets
Park Crescent, Marylebone, London, UK.<br />
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www.kayandco.com<br />
Palazzo Ca’ Mariani, Venice, Italy<br />
Berkshire Hathaway HomeServices MAGGI Properties<br />
www.maggiproperties.it<br />
Bvlgari, The Mansions, Jumeirah Bay, Dubai, UAE<br />
Berkshire Hathaway HomeServices Gulf Properties<br />
www.berkshirehathawayhomeservicesgp.com<br />
Conde de Aranda, Madrid, Spain<br />
Berkshire Hathaway HomeServices LARVIA<br />
www.bhhslarvia.es<br />
Home, Casa, Haus.<br />
Beautiful, in any<br />
language.<br />
BERLIN • DUBAI • LONDON<br />
MADRID • MILAN<br />
Maison Blanche, Berlin, Germany<br />
Berkshire Hathaway HomeServices Rubina Real Estate<br />
www.rubinarealestate.com<br />
www.berkshirehathawayhs.com<br />
©<strong>2019</strong> BHH Affiliates, LLC. Real estate brokerage services are offered through the network member franchisees of BHH Affiliates, LLC. Most franchisees are independently<br />
owned and operated. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.®<br />
Information not verified or guaranteed. If your property is currently listed with a broker, this is not intended as a solicitation. Equal Housing Opportunity.
FALLING FOR PORTO<br />
Bursting with youthful vigour, the Portuguese<br />
city has become a destination with appeal<br />
far beyond the grape<br />
By Paul Richardson<br />
54 NetJets
urban primer<br />
View over the<br />
city from the<br />
Monumental Palace<br />
55 NetJets
urban primer<br />
Until quite recently, even as Lisbon<br />
roared into the fast lane as a hip<br />
global metropolis – the Berlin of<br />
Southern Europe – its cousin to<br />
the north, Porto, was still stuck in the slow<br />
lane. Portugal’s second city was like one<br />
of the fine old wines to which it lends its<br />
name: pungent, slow-maturing and suitable<br />
for enjoying in small, unhurried sips.<br />
Riding the wave of Portugal’s new-found<br />
fashionableness, however, the city on the<br />
Douro has pulled off the trick of embracing<br />
modernity, and hugely increased popularity,<br />
while preserving much of its nostalgic<br />
charm. Close observers could see the signs of<br />
imminent change back in 2005, when Rem<br />
Koolhaas’s thrillingly modernist, monolithic<br />
CASA DA MÚSICA (casadamusica.com)<br />
appeared on a downtown roundabout,<br />
overcoming public suspicion to become a<br />
much-loved cultural institution. But it’s<br />
the last half-dozen years in which Porto<br />
has moved into top gear. The decadent<br />
and dilapidated Ribeira district has seen its<br />
riverside tenements lovingly restored as part<br />
of a massive sprucing-up operation. Foreign<br />
investment has duly flooded in, along with<br />
an influx of visitors that has both delighted<br />
and alarmed local residents.<br />
Beyond the old-town nucleus, once<br />
unremarkable neighbourhoods are fizzing<br />
Chef José Avillez in his<br />
eponymous Cantinho<br />
with life. Affluent Foz, the well-upholstered<br />
residential district at the mouth of<br />
the Douro estuary, is newly desirable<br />
thanks to chic neighbourhood hangouts<br />
CAFEÍNA (cafeina.pt), WISH (fb.com/<br />
wishfoz) and TERRA (fb.com/terrafoz),<br />
and the recently opened, art nouveaustyled<br />
VILA FOZ HOTEL (vilafozhotel.<br />
pt). In the past two decades Bombarda (as<br />
the area around Rua Miguel Bombarda is<br />
informally known) has become a full-on<br />
contemporary art hub where the bimonthly<br />
openings at galleries such as PRESENÇA<br />
(galeriapresenca.pt), bring international<br />
collectors flocking to this downtown<br />
zone. But as tourism makes inroads into<br />
the city, the Porto art scene has spilled<br />
out of Bombarda into other, sometimes<br />
edgier parts of town: worth the detour<br />
are A CERTAIN LACK OF COHERENCE<br />
(acertainlackofcoherence.blogspot.com), the<br />
newly cutting-edge GALERIA MUNICIPAL<br />
(galeriamunicipaldoporto.pt) and NUNO<br />
CENTENO (nunocenteno.com), an avantgarde<br />
art space housed in an old stonemason’s<br />
yard on Rua da Alegria that won the 2018<br />
Frieze New York Focus Prize.<br />
Even Vila Nova de Gaia, where for<br />
centuries the port houses have stored their<br />
barrels in silent cellars, is not immune to<br />
the city’s new wave of self-improvement.<br />
PAULO BARATA, ALBERTO PLÁCIDO; ILLUSTRATION: JULIAN RENTZSCH; PREVIOUS SPREAD: © MAISON ALBAR HOTELS LE MONUMENTAL PALACE<br />
56 NetJets
INSIDER KNOWLEDGE:<br />
MAURA MARVAO<br />
The representative for<br />
Phillips auction house in<br />
Portugal and Spain flits<br />
between Madrid, London<br />
New York and Brazil but<br />
was born and raised –<br />
and still has her home<br />
– in Porto.<br />
HOW DO YOU SEE<br />
THE CITY’S RECENT<br />
DEVELOPMENT?<br />
Many things have changed<br />
for the better. The city centre<br />
was very decadent before,<br />
and its recovery has been<br />
very positive. Tourism and<br />
foreign investment have<br />
obviously helped. We need<br />
to be a little bit careful with<br />
tourism, and hopefully we<br />
can learn from other cities’<br />
mistakes. Good things in<br />
excess become bad things!<br />
DO YOU HAVE A<br />
FAVOURITE CULTURAL<br />
HOTSPOT IN THE CITY?<br />
I love the Serralves<br />
Foundation (serralves.pt),<br />
a masterpiece by Porto’s<br />
famous architect Álvaro<br />
Siza. There’s a brand new<br />
section inside the property,<br />
the Casa do Cinema – it’s<br />
focused on Portuguese<br />
director Manoel de<br />
Oliveira, but open to films<br />
from all over the world.<br />
The Quinta do Vallado<br />
vineyard hotel in the<br />
Douro Valley<br />
AND A FAVOURITE CHILL-<br />
OUT SPOT? The Parque da<br />
Cidade in Foz, one of the<br />
biggest city parks in Europe.<br />
There are lakes, and it ends<br />
at the seaside. It‘s perfect<br />
for running, yoga, picnics.<br />
Take your dog!<br />
57 NetJets
Clockwise from top left:<br />
the Álvaro Siza-designed<br />
Casa de Chá da Boa<br />
Nova; boutique hotel<br />
Armazém’s lobby;<br />
the Douro River winds its<br />
way through the valley;<br />
Vinum restaurant at<br />
Graham’s winery<br />
58 NetJets
urban primer<br />
The newest places tick all<br />
the boxes, from brunch<br />
spots and cocktail bars to<br />
clean-eating joints<br />
© CASA DE CHÁ DA BOA NOVA, ANTÓNIO CHAVES, ANTÓNIO PEDROSA/4-SEE/LAIF, © VINUM RESTAURANT & WINE BAR<br />
COCKBURN’S (cockburns.com) has opened<br />
its new visitor centre in an historic lodge;<br />
GRAHAM’S (grahams-port.com) now has an<br />
excellent winery restaurant, Vinum; and the<br />
upcoming World of Wine from TAYLOR’S<br />
(taylor.pt), which commandeers a number<br />
of historic warehouses for a wine-themed<br />
culture centre along the lines of Bordeaux’s<br />
Cité du Vin, may prove to be a game-changer<br />
for this sleepy quartier.<br />
If top-shelf hotels in Porto were once<br />
thin on the ground, nowadays the visitor<br />
seeking splendour is spoilt for choice.<br />
A decade of openings has left a high<br />
watermark in the PALÁCIO DE FREIXO<br />
(pousadapalaciodofreixo.com), a fabulous<br />
restoration of an 18th-century mansion on the<br />
riverbank, the blueprint of which cunningly<br />
factors in the early-industrial flour mill next<br />
door; and THE YEATMAN (the-yeatman-hotel.<br />
com), in the wine district of Gaia, a sumptuous<br />
property that put oenological tourism firmly<br />
on the city’s agenda. Smart townhouse hotels<br />
and boutique boltholes have multiplied in<br />
the last five years, notable examples being<br />
TOREL AVANTGARDE (torelboutiques.com),<br />
ARMAZÉM (armazemluxuryhousing.com)<br />
and PESTANA PORTO – A BRASILEIRA<br />
(pestanacollection.com), a new arrival from the<br />
Pestana group incorporating the century-old<br />
and now resplendent A Brasileira café. But<br />
the bigger excitements, it has to be said, are<br />
at the top end of things: Porto’s chattering<br />
classes have been much exercised by the new<br />
MONUMENTAL PALACE (maison-albar-hotelsle-monumental-palace.com)<br />
on Avenida dos<br />
Aliados – a formerly tatty 1920s Grand Hotel<br />
whose Art Deco stylings have been stunningly<br />
repointed by local design studio Oitoemponto.<br />
Porto may be the HQ of a world-class<br />
wine, but the city could never have been<br />
described as a gastronomic hub. Until its<br />
recent boom, the pleasures of the portuense<br />
table were to be found mainly in the city’s<br />
down-home repertoire of salt cod á Gomes de<br />
Sá, octopus rice and the famous sandwichin-sauce<br />
the francesinha, preferably devoured<br />
in an old-fashioned cookhouse down by the<br />
river. The newfound revolution in Porto<br />
restaurants has changed all that. Chefs of<br />
renown have disembarked in number, most<br />
notably José Avillez, possessor of a selection<br />
of locales in Lisbon, whose CANTINHO<br />
DO AVILLEZ (cantinhodoavillez.pt) on Rua<br />
Mouzinho da Silveira takes laid-back Iberian<br />
snacking to new heights of deliciousness.<br />
Elsewhere, Ricardo Costa holds one of<br />
northern Portugal’s few Michelin stars at<br />
The Yeatman and Rui Paula showcases<br />
his fresh New Portuguese cooking at DOP<br />
(doprestaurante.pt) and at the CASA DE CHÁ<br />
DA BOA NOVA (casadechadaboanova.pt).<br />
(The latter, a beachside tea house-cum-gastro<br />
destination up the coast in Leça, is an early<br />
masterpiece by genial Porto architect Álvaro<br />
Siza and worth a visit for the building alone.)<br />
Meanwhile, a new batch of talented younger<br />
chefs is cooking up a storm at gastro-bistros O<br />
PAPARICO (opaparico.com), BARTOLOM<strong>EU</strong><br />
(bartolomeu.com.pt), OFICINA (oficinaporto.<br />
com) and MISTU (mistu.pt).<br />
Apart from alta cozinha per se, the newest<br />
Porto places tick all the boxes of international<br />
urban fashion, from brunch spots and cocktail<br />
bars to clean-eating joints – but the best of<br />
the bunch are original and striking. Between<br />
the Clérigos Tower and the riverside Ribeira,<br />
it can seem that every other renovated, tile-<br />
59 NetJets
VINTAGE VIEW:<br />
RUPERT SYMINGTON<br />
The CEO of Symington<br />
Family Estates was born<br />
in Porto and belongs to<br />
an Anglo-Portuguese family<br />
based in the Douro for<br />
three centuries.<br />
Art Nouveau stylings in the Vila Foz Hotel & Spa<br />
IS PORTO A PLACE YOU’D<br />
RECOMMEND EVEN IF IT<br />
WEREN’T YOUR HOME?<br />
Oh yes – in fact, I've been<br />
recommending it to friends for<br />
years. We have great transport<br />
connections, a superb airport,<br />
good broadband and relatively<br />
inexpensive real estate. In the<br />
last few years it’s been brilliant<br />
to see how the crumbling ruins<br />
downtown have been restored.<br />
The work has been very<br />
well planned, respecting the<br />
area's 17th- and 18th-century<br />
architecture. Another advantage<br />
is that Porto is incredibly safe:<br />
you can wander around at night<br />
and have absolutely no trouble.<br />
covered building now contains a funky venue<br />
for grazing or raving. FLOW (flowrestaurant.<br />
pt), MUNDO (fullest.pt), CANTINA 32<br />
(cantina32.com) and TABERNA DOS<br />
MERCADORES (fb.com/tabernamercadores)<br />
are just a few of the downtown hangouts<br />
currently cutting the mustard.<br />
In a formerly conservative, introspective,<br />
provincial town, the pace of all this change<br />
can be a trifle dizzy-making. Witness<br />
COLONIAL (fb.com/colonial.bystudio66),<br />
open now at a seaside location in Foz. This<br />
forward-thinking enterprise combines<br />
elements of bar, restaurant and nightclub,<br />
with a funky interior by local firm Studio<br />
66, live music and – here’s the radical bit<br />
– an entertainment policy that, according<br />
to a spokesperson for the venue, is planned<br />
to include “classic pole-dancing shows, not<br />
in a burlesque style, but done rather in a<br />
sophisticated and classy way”. Postmodern<br />
pole-dancing in Porto? Proof, if it were<br />
needed, that Portugal’s slow-lane city is<br />
finally up to cruising speed.<br />
SHARE A COUPLE OF INSIDER<br />
TIPS WITH US. Happily! The<br />
Flor do Gás ferry crosses the<br />
river from Lordelo to the fishing<br />
village of Afurada, on the south<br />
side. It's a fun thing to do. You<br />
can take your bike on board.<br />
Then head for the port lodges in<br />
Gaia. We have just reopened<br />
the visitor centre at Cockburn's<br />
– it's a fantastic old building,<br />
and there's a barrel-making<br />
workshop where you can watch<br />
the coopers at work.<br />
VALLEY HIGH<br />
It might be argued, though it sounds like a paradox, that the soul of Porto lies not in the city itself but further inland in the Douro River valley. In this<br />
dramatically beautiful region, where the vineyards are racked up in terraces on either side of the winding waterway, discerning travellers take their ease<br />
at winery lodgings such as QUINTA DO VALLADO (quintadovallado.com) and QUINTA NOVA (quintanova.com), or wine and dine at Rui Paula’s<br />
restaurant DOC (docrestaurante.pt) in its sleek modernist pavilion on the water’s edge. The SIX SENSES DOURO VALLEY (sixsenses.com), with its<br />
superlative spa, has set the seal on the valley as a first-class destination worthy of comparison with Chianti, Burgundy and the Loire, blending top-end<br />
hospitality with fine wines and glorious landscapes. For an up-close experience of the river and its surroundings, take a trip on the FRIENDSHIP I<br />
(pipadouro.com), a 1957 British admiralty yacht moored in Pinhão. Exclusive cruises for up to eight people include lunch or dinner created by the chef<br />
who has conquered the region – Rui Paula.<br />
NICK BAYNTUN; ILLUSTRATION: JULIAN RENTZSCH<br />
60 NetJets<br />
Porto Airport to city centre: 9miles/15km
country bliss<br />
ALENTEJO’S ALLURE<br />
Portugal’s vast, bucolic and little-populated region makes a relaxing<br />
rural escape from the buzzing cities of the west coast<br />
PEITA BLYTHE<br />
1 An in-the-know destination<br />
for seekers after unspoiled and<br />
undeveloped coastal landscapes,<br />
Comporta has been a destination<br />
for a few years now. The hippest<br />
places to stay hitherto have been<br />
Sublime Comporta and Casas<br />
na Areia, but architect Miguel<br />
Câncio Martins’s brand new<br />
QUINTA DA COMPORTA has<br />
raised the bar, upcyling the area’s<br />
rustic reed-and-thatch architecture<br />
of an ancient rice barn into a<br />
masterpiece of rustic minimalism.<br />
quintadacomporta.com<br />
2 A 26-suite contemporary<br />
hotel among the vines, with<br />
views across a lake towards the<br />
medieval castle of Montemoro-Novo,<br />
L’AND VINEYARDS<br />
seamlessly combines wine and<br />
landscape, modernity and<br />
alentejano heritage. Ten rooms<br />
have retractable roofs, for nights<br />
under a star-scape of astonishing<br />
clarity. l-and.com<br />
3 Not much doubt about<br />
Alentejo’s top cultural day-trip:<br />
it would have to be ÉVORA.<br />
This stupendous granite-andwhitewash<br />
city is a Unesco World<br />
Heritage site whose gloriously<br />
gloomy Gothic cathedral and<br />
Roman temple of Diana are<br />
only the most obvious of a<br />
slew of historic gems. At the<br />
M’AR DE AR AQUEDUTO,<br />
contemporary luxe sits prettily in<br />
a 15th-century palace hard by<br />
the town’s medieval battlements.<br />
mardearhotels.com<br />
4 José António Uva left his<br />
London banking job to restore<br />
a country estate near Monsaraz<br />
that had been in his family for<br />
two centuries. Starchitect Eduardo<br />
Souto de Moura was drafted in to<br />
help create SÃO LOURENÇO<br />
DO BARROCAL’s gorgeous<br />
mélange of rustic simplicity and<br />
minimal chic. The result is a barraiser<br />
for Alentejo. barrocal.pt<br />
5/7 Wine tourism is a growing<br />
trend in Alentejo. If HERDADE<br />
DO ESPORÃO, a 1,800ha<br />
estate dating from 1267, is the<br />
region’s enoturismo pioneer (its inhouse<br />
restaurant helmed by Carlos<br />
Teixeira being among the region’s<br />
finest), a more recent tendency<br />
involves mixing wine with art.<br />
QUINTA DO QUETZAL’s<br />
cutting-edge contemporary winery,<br />
owned by Dutch art collectors<br />
Cees and Inge de Bruin, boasts a<br />
450 sq m exhibition space and a<br />
cool modern restaurant. wesporao.<br />
com, quintadoquetzal.com<br />
6 Straddling the Spanish/<br />
Portuguese border over 25,000<br />
hectares, the ALQUEVA<br />
RESERVOIR is Europe’s largest<br />
artificial lake. Sailing, kayaking<br />
and waterskiing can all be<br />
practised here – head for the<br />
marina at AMIEIRA, while a gentle<br />
cruise gets you up close and<br />
personal with the lake’s wildlife and<br />
natural beauty. amieiramarina.com<br />
8 An historic property and now<br />
a country-house lodging,<br />
HERDADE DO TOURIL stands<br />
within sight and smell of the<br />
Atlantic Ocean. A collection of<br />
low-rise whitewashed buildings<br />
picked out in blue in the purest<br />
Alentejo style, the house is still<br />
run in hands-on fashion by<br />
Luis Leote Falcão, a scion of<br />
the Herdade’s original owners.<br />
herdadedotouril.com<br />
61 NetJets
consuming passion<br />
A SLOVENIAN STORY<br />
62 NetJets
Far from the madding crowds,<br />
Ana Roš has built an unlikely<br />
culinary destination that celebrates<br />
the bounty of the Julian Alps<br />
By Bill Knott<br />
BENJAMIN SCHMUCK<br />
D<br />
rive into the small town of Kobarid,<br />
western Slovenia, and – depending<br />
on the time of year – you might<br />
spot the occasional winter sports<br />
enthusiast, mountain biker or cliff diver, while<br />
the picturesque, emerald-green Soča River,<br />
which flows down from the spectacular Julian<br />
Alps, is the babbling playground for whitewater<br />
rafters and canoeists.<br />
The town has historically been kicked<br />
back and forth between Italy, Austria-<br />
Hungary and the former Yugoslavia, and<br />
during the First World War, it was almost<br />
completely destroyed. These days it is<br />
thoroughly at peace, a remote community<br />
that prides itself on its self-sufficiency.<br />
Ana Roš is very much part of that<br />
community. She is also responsible for a new<br />
breed of visitors to the Soča Valley: gourmets<br />
making the pilgrimage to Hiša Franko, the<br />
restaurant where she cooks and her husband<br />
Valter is sommelier and cellarmaster. It is<br />
also the family home: they have two children,<br />
and Valter’s parents live there, too, making it<br />
three generations under the same roof. And<br />
it is, according to the annual San Pellegrino<br />
World’s 50 Best awards, the 38th best<br />
restaurant in the world.<br />
Her ascent to global fame has been<br />
extraordinary. A talented skier who was picked<br />
for the Yugoslavian youth team, she turned<br />
down the chance to become a professional in<br />
favour of a degree in international relations<br />
and a career in diplomacy.<br />
Then, in 2002, she changed tack<br />
completely. With little experience of cuisine<br />
beyond “cooking bowls of pasta at five in the<br />
morning when I was a student”, Ana took<br />
over Valter’s parents’ old-style Slovenian<br />
restaurant at Hiša Franko, “found what few<br />
63 NetJets
consuming passion<br />
cookbooks I could in the library” and started<br />
creating a kind of new-wave Slovenian<br />
cuisine, starring beautifully plated dishes that<br />
showcased fiercely local ingredients.<br />
Not everything went to plan: her sudden<br />
career change had gone down badly with<br />
her parents: “They were dark times. My<br />
relationship with them was very difficult<br />
– and I made mistakes, unfortunately for<br />
the guests!” But her perseverance paid<br />
off, and the diplomatic service’s loss was<br />
gastronomy’s gain.<br />
Her cookery attracted the interest of<br />
Italian food writers; Roš credits Anna Morelli<br />
in particular: “She came through the door<br />
when nobody knew us and told everyone. I’ll<br />
always be grateful.” Invitations to top-drawer<br />
culinary events started to land on Hiša<br />
Franko’s doormat, and her rise to the top was<br />
confirmed when the producers of Netflix’s<br />
Chef ’s Table came calling: a 2016 episode<br />
starred Roš, her restaurant and – not least –<br />
the stunning scenery in which she lives and<br />
works. Overnight, the hits on Hiša Franko’s<br />
website went from 200 a day to 10,000, and<br />
the business’s financial stability was assured.<br />
Roš gives much of the credit for her<br />
success to this unique landscape. Now in her<br />
mid-40s, she keeps in shape with a daily run.<br />
“When I’m on top of the mountain I can see<br />
the lagoons, rivers, meadows, forests, gardens<br />
and villages: every plate I create has at least<br />
one element from this environment.<br />
“I know farm-to-table is very trendy now,<br />
but sometimes it’s just rubbish, like the<br />
Russian place I went to that had a sea urchin<br />
from the Faroe Islands on the menu.”<br />
Roš’s sense of place is very precise. “We<br />
are mountain people. Winters are harsh, so<br />
you need to preserve food to survive them:<br />
salting, curing, pickling, fermenting. We have<br />
a little house in Istria – south of here, near the<br />
Adriatic – and it’s still 20˚C even in February,<br />
so you can garden all year round and there’s<br />
no need to preserve food: the locals would<br />
think you were stupid!<br />
“Of course, nowadays we realise how<br />
healthy and flavoursome fermented foods<br />
are, but originally it was simply a means<br />
of survival. Slovenia is a completely rural<br />
country, and everyone has a garden to grow<br />
their own food, even in Ljubljana. We have<br />
four gardens at Hiša Franko: they weren’t my<br />
idea, they were already here.”<br />
Her style of cooking sprang from necessity,<br />
too. “There weren’t really any suppliers<br />
when we started – it’s so remote here – so<br />
I had to forge relationships with farmers<br />
and producers.” She is especially proud of<br />
”We are mountain people. Winters<br />
are harsh, so you need to preserve food:<br />
salting, curing, pickling, fermenting”<br />
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Roš and staff are a<br />
study in concentration<br />
as they prepare<br />
another superlative dish<br />
Facing page: inside<br />
the intimate dining room<br />
of Hiša Franko<br />
her role in helping to secure the future of<br />
the endangered marble trout, a fish that<br />
features heavily on her menus, perhaps with<br />
green peas and blackcurrants, served with a<br />
sauce made from the trout’s fermented liver,<br />
or with reduced whey (leftovers from the<br />
cheese they make at Hiša Franko), puffed<br />
buckwheat, scented geranium and mint. Her<br />
“breakthrough” dish, created in 2006, was<br />
a raviolo filled with liquid potato in trout<br />
broth, with steamed trout and trout eggs.<br />
Damming of rivers and the introduction<br />
of brown trout to the Soča River had almost<br />
wiped out the indigenous marble trout. “It’s a<br />
beautiful story, a species that almost became<br />
extinct, revived by dedicated local people. In<br />
a way, it’s my story, too.”<br />
She sounds a note of caution, however.<br />
“There’s a place about 40km from here where<br />
they grow rosa di Gorizia, a special kind of<br />
radicchio that costs €35 a kilo or even more.<br />
It takes almost two years to produce, and<br />
there are only a few growers left, either side<br />
of the Italian border.<br />
“I talked to one of the older growers when<br />
I was researching my book [Sun and Rain, to<br />
be released later this year by Phaidon] and<br />
he said, ‘I know lots of people want it, but I<br />
think it won’t survive in time. Your generation<br />
doesn’t have the patience to wait.’ ”<br />
She is acutely aware that the homely<br />
setting of Hiša Franko may not be quite<br />
what her clientele expects. “Someone who<br />
travels 8,000 kilometres to dine with us<br />
shouldn’t expect it to be the same as a meal<br />
in Barcelona or Paris. We don’t serve lobster,<br />
caviar or foie gras, not because I don’t like<br />
them – I could eat a kilo of foie gras just<br />
with a piece of bread – but because they<br />
don’t tell the story of the restaurant and<br />
its location. And, for me, food is all about<br />
storytelling.” hisafranko.com<br />
SUZAN GABRIJAN, BENJAMIN SCHMUCK<br />
Trieste Airport: 36miles/58km<br />
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tasting notes<br />
IN PRAISE OF<br />
PROVENANCE<br />
Once upon a time, the Cheval Blanc<br />
winery put Saint-Émilion on the map,<br />
and it continues to beguile with some<br />
of Bordeaux’s best vintages<br />
By Rob Crossan<br />
W<br />
hen oenophiles think<br />
of Cheval Blanc, they<br />
invariably think of a<br />
certain year. For this<br />
is the august château responsible for none<br />
other than the ’47, the almost mythical wine<br />
considered to be the greatest bordeaux ever<br />
made – its voluptuous richness created by<br />
an entirely accidental combination of highly<br />
volatile acidity and residual sugar levels that<br />
would, by today’s standards, be considered a<br />
faulty batch.<br />
“Whatever the fashions and times, it<br />
has always been considered an exceptional<br />
wine,” says Pierre-Olivier Clouet, Technical<br />
Director at Cheval Blanc. “It has an<br />
absolutely incredible ageing potential,” he<br />
continues by way of explaining the winery’s<br />
outsized reputation. “Whatever the season<br />
of Cheval Blanc, young, old or very old, the<br />
wine is remarkable.”<br />
Dating back to the 1830s, Cheval Blanc’s<br />
uniqueness lies in the fact that its location, in<br />
the Saint-Émilion appellation on the right<br />
banks of the Gironde estuary, is actually<br />
prime merlot territory. The unusually high<br />
amount (49%) of cabernet franc is part of<br />
what makes Cheval Blanc such a truly<br />
distinctive wine. NetJets Owners got a taste<br />
of just how distinctive it now is at a recent<br />
special event held at the château.<br />
Long considered to be little more than a<br />
backwater for vin de table, Saint-Émilion’s<br />
reputation was singlehandedly transformed<br />
by Cheval Blanc during the 19th and early<br />
20th century. The winery put the region on<br />
the map when it won a gold award at the Paris<br />
World Fair in 1878, and, then almost half a<br />
century later, its 1921 vintage created, for the<br />
first time, a truly international demand.<br />
The dizzying upward trajectory from<br />
local obscurity to global adulation was set in<br />
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STUDIO ERICK SAILLET<br />
motion by Jean Laussac-Fourcaud. The sonin-law<br />
of the Ducasse family, who owned<br />
the vineyard, he took over the unloved<br />
terrain in 1852, draining and renovating the<br />
land and adding the château building that<br />
still stands today.<br />
Now one of only four châteaux at the<br />
Saint-Émilion Premier Grand Cru Classé<br />
“A” level in the local appellation system, the<br />
Cheval Blanc we savour today is down to<br />
the work of the LVMH chairman Bernard<br />
Arnault and the late Belgian billionaire<br />
Albert Frère, who together acquired the<br />
vineyard in the late 1990s.<br />
Architect Christian de Portzamparc<br />
designed a new cellar, and 2011 saw the first<br />
vintage made in it, equipped with 52 concrete<br />
vats to ferment every single plot of the estate.<br />
When it comes to future plans, however,<br />
Clouet insists that the relentless march of<br />
progress isn’t a beat that suits this part of<br />
Bordeaux. “There is no big project or change<br />
that would make Cheval Blanc something<br />
that will be completely different tomorrow,”<br />
he says. “Our work is a work of preservation,<br />
continuity and improvement in a framework<br />
that is always the same.”<br />
The modern world may have made a small<br />
mark on the ancient estate, as Clouet admits<br />
in relation to the cellar, but he insists the<br />
pleasure of a glass of Cheval Blanc is all but<br />
timeless. “There are 1,000 ways to enjoy it,”<br />
he laughs. “For me, the best way to see Cheval<br />
Blanc is to be at the heart of the estate, at<br />
the end of the summer, in September when<br />
the grapes are ripe, with all the vineyards<br />
around you and to drink a Cheval Blanc glass<br />
at Cheval Blanc – there is no better place.”<br />
And it is from this noble terroir where many<br />
more significant vintages, perhaps even those<br />
to eclipse the ’47, are sure to be produced.<br />
chateau-cheval-blanc.com<br />
Christian de<br />
Portzamparc’s modern<br />
design for the Cheval<br />
Blanc winery<br />
Bordeaux Airport: 32miles/52km<br />
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VIRTUALLY THERE<br />
Stepping into the unknown, the art world is<br />
embracing virtual reality without being quite sure<br />
how – or whether – it will be collectible<br />
By Brian Noone<br />
XXXXXXXXXXXXX<br />
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artscape<br />
XXXXXXXXXXXXX STILLS FROM MONA LISA BEYOND THE GLASS, COURTESY EMISSIVE AND HTC VIVE ARTS<br />
E<br />
urope’s most notable exhibition this<br />
year showcases Leonardo da Vinci<br />
at the Louvre, and, perhaps fittingly,<br />
one of the key displays will feature<br />
a device that Leonardo himself might have<br />
dreamed up: a virtual reality headset.<br />
Viewers will be able to explore the<br />
Mona Lisa in extraordinary detail in the<br />
VR experience – benefiting from digital<br />
enhancement to get much closer than the<br />
usual swarming crowds allow, and also<br />
discovering the latest research findings as<br />
well as novel perspectives (viewers can,<br />
among other things, see the reverse side of<br />
the painting) to make a truly new experience<br />
of the world’s best-known work of art.<br />
The Louvre is one of the more conservative<br />
institutions in one of Europe’s most techphobic<br />
countries, so its inaugural foray into<br />
VR is a clear sign, if any were needed, that<br />
VR is here to stay, at least in the art world.<br />
Five years ago, the future of VR wasn’t so<br />
obvious. Like the driverless car, prototypes<br />
existed and there was a vague promise of<br />
future ubiquity. But now, unlike autonomous<br />
vehicles, which are mired in regulatory red tape<br />
and programming details, VR has fulfilled its<br />
promise and sits comfortably across a range<br />
of industries. Architects – and their clients<br />
– have fallen head over heels for the ability<br />
to explore a full building to scale before<br />
the plans are signed off, and elsewhere it is<br />
proving especially popular as a teaching tool:<br />
trainee surgeons in England who learn with<br />
VR outperform their 2D-educated peers, and<br />
businesses are increasingly commissioning<br />
bespoke training programmes using VR<br />
following the theory that immersive learning<br />
is both more effective and more efficient.<br />
The immersive quality of VR is also a<br />
powerful draw for creative types as well, who<br />
see the potential to unlock a new level of<br />
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artscape<br />
Daniel Birnbaum, who has<br />
taken the creative reins at<br />
VR pioneer Acute Art<br />
Facing page, from top: a<br />
still from Anish Kapoor’s<br />
VR work Into Yourself, Fall,<br />
2018; a starry sky in Olafur<br />
Eliasson’s Rainbow, 2017<br />
Previous page: Mona Lisa:<br />
Beyond the Glass, a VR<br />
installation at the Louvre for<br />
the museum’s Leonardo da<br />
Vinci exhibition<br />
engagement with their audience. Last month,<br />
Icelandic singer Björk released Vulnicura VR,<br />
a visual reinterpretation of her 2015 album<br />
of the same name that transfers the private<br />
connection between artist and individual<br />
from headphones to headset. “The whole<br />
process has been an improvisation, trying<br />
to keep faith in formats,” she wrote in a<br />
statement, explaining that she wanted to “try<br />
to have courage to grow along with how 360<br />
sound and vision tech was growing”.<br />
Cinema has always been primarily a visual<br />
medium, so its adoption of VR has been relatively<br />
straightforward – and rapid. In 2017, for<br />
instance, director Alejandro González Iñárritu<br />
received a Special Achievement Award Oscar,<br />
the first ever given to a VR film, for his Carne<br />
y Arena, which dramatised the border-crossing<br />
journey from Mexico to the US. The Venice<br />
Film Festival – always a bit more adventurous –<br />
has hosted an annual VR section of the festival<br />
on an abandoned island, Lazzaretto Vecchio, for<br />
the last three years. This year’s event included<br />
more than three dozen films, some interactive,<br />
others merely immersive.<br />
French director Céline Tricart, whose<br />
interactive 20-minute film The Key, also about<br />
migrants, won the overall VR competition<br />
this year, sums up the appeal of the medium<br />
for directors: “I believe VR is a first-person<br />
medium. We bring a lot of ourselves in with<br />
us: our identity, our thoughts, our emotions. It’s<br />
story-living, instead of storytelling.”<br />
The ability to elicit deep empathy makes<br />
VR an especially appealing proposition for<br />
artists. At the very least, it’s a way to get<br />
viewers to give their full attention to works<br />
for minutes on end – a rarity at art museums<br />
and galleries.<br />
But for artists like American Michael<br />
Takeo Magruder, VR is more than just a way<br />
to capture attention; it is a medium that is well<br />
suited to his subjects, which include media,<br />
data and digital archives. “I think of myself<br />
as a visual artist who happens to use digital<br />
technologies,” he says, and indeed his latest<br />
project, Imaginary Cities, synthesises the realtime<br />
actions of visitors with historical maps of<br />
New York City to generate a new experience<br />
for each visitor – a conceptual roundness that<br />
makes use of VR’s unique properties in a way<br />
most other mediums could not.<br />
Magruder’s piece was first exhibited at the<br />
British Library in London this spring and is<br />
currently on display at Gazelli Art House, a<br />
private gallery, as part of its exhibition Enter<br />
Through the Headset 4, a shortlist of the latest<br />
VR art works on the market. Although already<br />
in their fourth year, Gazelli Art House CEO<br />
and Founding Director Mila Askarova is<br />
conscious that her annual VR exhibitions are<br />
just a beginning: “We hope with these shows<br />
we will continue building on a market for VR<br />
works,” she says.<br />
There is indeed a growing market, with<br />
pieces selling from a few thousand euros<br />
up to over €100,000, but VR art’s tenuous<br />
relationship with the market is where it<br />
diverges most from more traditional mediums.<br />
Big-name artists like Marina Abramovic,<br />
Anish Kapoor, Olafur Eliasson and Antony<br />
Gormley have recently produced works that<br />
are freely accessible, not only at exhibitions but<br />
also online and in apps, so that anyone with a<br />
VR headset (or cardboard smartphone holder)<br />
can view the works for themselves.<br />
There is something almost revolutionary<br />
about this, and the man leading the<br />
democratic charge is Daniel Birnbaum, a<br />
longtime radical who shocked the art world<br />
last January when he left his eminent position<br />
directing the Moderna Museet in Stockholm<br />
to take the creative reins at London-based<br />
Acute Art, where most of the boldface names<br />
are producing their VR works. He has taken a<br />
serious gamble on VR as an art form, but he<br />
holds a remarkably long view of its potential:<br />
“There are some who say you could view art<br />
as a sort of service, not something you own<br />
or keep for yourself, but something you have<br />
JOHN SCARISBRICK<br />
70 NetJets
COURTESY ACUTE ART<br />
access to – a little bit like Spotify or Netflix,”<br />
he says with a smile. “On the other hand,<br />
I’m not so sure. It’s a potential. There is<br />
something wrong if VR art is only collected<br />
like traditional art. There is potential for it to<br />
be distributed much more widely than that,<br />
so you don’t have to go to the Frieze Art Fair<br />
or to a big museum in Paris. You could be in a<br />
little suburb of Zagreb and see the exact same<br />
things. There is a sort of quasi-utopian aspect<br />
of this – that it could be everywhere – but I<br />
think it will take a while.”<br />
Birnbaum notes that some artists have<br />
shied away from the medium, not wanting to<br />
isolate the viewers so much, but even among<br />
those who have embraced it he sees a glimpse<br />
of that utopian spirit: “The people who want<br />
to try it are there because they are curious, not<br />
because they want to grow their audiences or<br />
make money.”<br />
It’s unusual in our age to see so much talk<br />
about art without foregrounding finance,<br />
which is why VR is so confounding – it is<br />
both democratic and cutting-edge, a pairing<br />
that has become exceptionally rare.<br />
But there is one place where this pairing<br />
is perfectly at home: museums, which often<br />
have the same twin values. Even the Louvre,<br />
staid as it is, will offer the Mona Lisa VR<br />
experience to people not able to come to Paris<br />
during the exhibition on Viveport, the digital<br />
subscription service from HTC, the firm that<br />
makes the Vive headset.<br />
“Allowing visitors who may not be able<br />
to visit the exhibition in person to access<br />
this remarkable masterpiece by Leonardo<br />
da Vinci through our home version will give<br />
unprecedented access to da Vinci’s most<br />
celebrated painting,” says Victoria Chang,<br />
Director of Vive Arts at HTC.<br />
Chang’s pride in the democratisation of<br />
the world’s most valuable painting is a far<br />
cry from the price-centric discussions of that<br />
other Leonardo masterwork, the Salvator<br />
Mundi, which sold for $450.3m in 2017. It<br />
might well be that in a few decades we will<br />
look back and see that VR’s biggest effect on<br />
the art world will not have been as a medium<br />
for artists, but as a means for making our<br />
artistic masterpieces more accessible to<br />
viewers across the globe.<br />
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ich mix<br />
CLUB CORNER<br />
An exceptional humidor, three fl avoursome tomes<br />
and a selection of refi ned bottlings<br />
By Farhad Heydari<br />
THE FINER THINGS<br />
Italian firm DeART, maker of renowned humidors, has reached new levels of excellence with its bespoke limited<br />
edition creation for Hunters & Frankau HOUSE RESERVE SERIES 1790 collection. Named after the year in<br />
which the London cigar importer was founded, it contains rare cigars taken from its reserve of Habanos UK<br />
Regional Editions ranging from 2005 through to its most recent release in 2017. Eight different brands feature<br />
among the 170 cigars kept in ideal condition by the high-tech humidification system. cigars.co.uk<br />
A TOUCH OF CLASS IN A GLASS<br />
Characters, custom and a certain way of life are captured<br />
in 70 concoctions for THE OFFICIAL DOWNTON ABBEY<br />
COCKTAIL BOOK, inspired by the classic UK TV series-cummovie;<br />
quartoknows.com. In SCHOFIELD’S FINE AND<br />
CLASSIC COCKTAILS, two brothers, Joe and Daniel, reveal<br />
the secrets of their bartending from The Savoy to Singapore;<br />
kylebooks.co.uk. Ian Wisniewski’s THE WHISKY DICTIONARY<br />
blends history, ingredients, distilling techniques and more on<br />
whiskies around the world; octopusbooks.co.uk.<br />
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SPIRITS OF THE AGE<br />
The latest palate-pleasing elixirs from distilleries of distinction<br />
COURTESY OF THE VENDORS<br />
Top row: BRORA 40-YEAR-OLD 200TH ANNIVERSARY Limited edition of a 1978 single malt from the soon-to-reopen ghost distillery; diageo.com. WHISTLEPIG<br />
10 YEAR STRAIGHT RYE The Vermont-based rye whiskey maker’s pride and joy is aged in new American oak with a bourbon-barrel finish; whistlepigwhiskey.com.<br />
TALISKER BODEGA SERIES – 41-YEAR-OLD The Skye distillery continues its experimentation with sherry casks with a wonderful mix of sweet and smoky tastes;<br />
diageo.com. THE ISLE OF JURA TIDE & TIME Two 21-year-old single malts celebrate their home island having been aged in American white oak ex-bourbon barrels;<br />
jurawhisky.com. REFUGEES RUM Concocted by Bosnian-born, Lisbon-based chef Ljubomir Stanisic, this Portuguese rum has origins in Ancient Persia; 100maneiras.com.<br />
WHISKY ILLUMINATI SOLARIA SERIES The three-part bottling from five Speyside distilleries will be released over the next four years, and includes the mysterious<br />
“Artis Secretum”; whiskyilluminati.com. SAUTTER BLENDED MALT SCOTCH An intriguing release from the cigar company is made with component whiskies that<br />
span four decades; sauttercigars.com. Bottom row: GLEN MORAY DISTILLERY 21-YEAR-OLD PORTWOOD FINISH The latest addition to the Elgin Heritage<br />
Collection is a port-finished single malt that combines spicy sweetness with rich wine flavours; glenmoray.com. GORDON & MACPHAIL CONNOISS<strong>EU</strong>RS<br />
CHOICE GLEN SPEY 1995 Among the new batch of releases from the famed bottling company is a refined 22-year-old single malt from the Rothes-based distillery;<br />
gordonandmacphail.com. JOHNNIE WALKER THE JOHN WALKER LAST CASK The iconic whisky has one final outing in a hand-blown Baccarat crystal decanter;<br />
johnniewalker.com. LITTLEMILL 29 YEAR OLD Littlemill’s Private Cellar collection has produced one last bottling using liquid selected from some of the last remaining<br />
casks to be laid down at the distillery; littlemilldistillery.com. CROWN ROYAL NOBLE COLLECTION FRENCH OAK CASK FINISHED The fourth edition in the<br />
series has a subtle flavour thanks in part to wood sourced from the forests of the Vosges; crownroyal.com. THE SECRET SPEYSIDE COLLECTION Four seldom-seen but<br />
much sought-after distilleries are represented in the Chivas Brothers’ new selection including the entirely vanished Caperdonich; chivasbrothers.com. GLENFIDDICH<br />
RARE COLLECTION 44 YEAR OLD Bottled in 2017 to mark the 70th anniversary of Velier, this exceptionally rare spirit is a true collector’s item; glenfiddich.com<br />
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inside view<br />
TEXAS’S<br />
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ART PARADISE<br />
A photographic journey through Marfa,<br />
where imposing desert landscapes are a perfect<br />
match for compelling contemporary art<br />
Photography by Florian Holzherr<br />
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inside view<br />
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inside view<br />
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THE TOWN THAT JUDD BUILT<br />
If you were searching for nowhere, you would end up within<br />
spitting distance of Marfa, Texas. More than six hours‘ drive<br />
from anything resembling a city, this former military outpost in the<br />
wilds of the American Southwest began its transformation into<br />
an art mecca in the 1970s when Donald Judd moved here from<br />
New York. In the empty expanses of Marfa’s rugged terrain, the<br />
minimalist artist found a landscape that suited his work – as well<br />
as that of friends and peers like Dan Flavin, John Chamberlain,<br />
Richard Long and Claes Oldenburg. Judd purchased much of the<br />
former military infrastructure and used it to establish, among other<br />
things, THE CHINATI FOUNDATION (chinati.org), an art museum<br />
that brought the Texas backwater to national prominence. More<br />
recently, the far-flung village (population c 1,981) has become<br />
a must-visit destination for the global art cognoscenti, complete with<br />
multiple museums, a burgeoning culinary scene and a decent<br />
hotel or two. But the focus remains on the experience of the art, just<br />
as Judd intended. At such an exceptional remove from the concerns<br />
of daily life, you can’t help but spend hours wandering between<br />
the sculptures that are sutured into the harsh desert or exploring the<br />
cavernous spaces that house everything from contemporary<br />
masterpieces to Rembrandt etchings. It’s a place entirely out of time<br />
– and one perfectly of our time as well.<br />
Opening page: Donald Judd’s 15 untitled works in concrete, 1980-1984, were the first pieces to be installed at the<br />
Chinati Foundation<br />
Previous page: Things That Happen Again: For a Here and a There, 1986-1991, an installation of two copper cones<br />
by Roni Horn<br />
Facing page: Untitled (dawn to dusk), 2016, is artist Robert Irwin’s only permanent, freestanding structure, set in an<br />
abandoned army hospital<br />
Following page: The Architecture Studio in Marfa has repurposed the former Marfa National Bank and houses a range<br />
of works highlighted by 20th-century masters such as Josef Albers and Ludwig Mies van der Rohe<br />
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inside view<br />
80 NetJets
81 NetJets
in conversation with<br />
TRAVEL<br />
Sun-worshipper or thrill-seeker?<br />
For holidays I love being anywhere<br />
that is sunny and close to a beach!<br />
One of my favourite places to visit<br />
is the San Diego area. I have so<br />
many great memories growing up<br />
and learning to ride there – it will<br />
always hold a special place<br />
in my heart.<br />
GOURMET<br />
Top names or hidden gems?<br />
Before a trip, I like to reach out to<br />
friends who have been to the area<br />
and get their recommendations<br />
on local cuisine. I prefer to eat at<br />
places that showcase local food<br />
and culture – I definitely prefer<br />
somewhere casual with good<br />
friends or family.<br />
ARCHITECTURE<br />
Classical or modern?<br />
I find architecture fascinating, and<br />
greatly appreciate the rich history<br />
behind many of Europe’s big<br />
cities. While I love learning about<br />
the classical aspects of each<br />
place I visit, I also enjoy the newer<br />
buildings and urban landscapes in<br />
areas such as the UAE or China.<br />
It is very interesting to see how<br />
more recent technical innovations<br />
and trends contribute to design in<br />
some of these cities.<br />
JENNIFER GATES<br />
The Paris Panthers rider on life<br />
away from the world of equestrianism<br />
ENTERTAINMENT<br />
Good book or big screen?<br />
I always prefer to pick up a good<br />
book. One of my favourite things<br />
about being on the go is the time<br />
I get to spend reading on flights.<br />
It is a way for me to decompress<br />
and connect with a story or learn<br />
about a new subject. This is<br />
one thing I always look forward<br />
to during my time in transit.<br />
FUTURE PLANS<br />
Full-time rider or broader horizons?<br />
Horses and riding will always<br />
be a big part of my life, but I<br />
am excited to be back in school<br />
and to embark on the path of<br />
becoming a physician.<br />
ILLUSTRATION: JULIAN RENTZSCH FROM PHOTOGRAPH BY @GEORGEKAMPER FOR @EQLIVING<br />
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EXPLORE<br />
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