< Previous80 ST Y L E / N o w 2 5 A place that inspires me is the Al Fahidi District in Bur Dubai, one of the oldest parts of the city. I love to go to the Arabian Tea House (5) for a traditional Emirati breakfast before wandering through the narrow lanes between the houses with wind towers. From there, I stroll down to the Creek to catch an abra across to the Spice Souk in Deira, where I stock-up on dried spices, rose buds and frankincense. It’s a feast for all the senses. I’ve got my eye on a sharp, white suit by Racil (2) that has an air of Bianca Jagger cool, and a Clash de Cartier ring (4). I love how wearable it is and that there’s movement in the piece. I’m coveting the Arc Collection (3) from UAE-based furniture brand the Line Concept. I discovered the company a few years ago and commissioned our dining table at home. @thelineconcept One of my most treasured childhood memories is meeting HH Sheikh Mohammed bin Rashid Al Maktoum when the late Margaret Thatcher, former UK prime minister, opened an exhibition at the Dubai World Trade Centre. It was such an honour. The Style List Our columnist Maha Gorton shares her address book secrets A gift I’ve received and loved lately is a turntable (6). The sound you get from a record adds such depth to the music. @projectaudiosystems I recently visited Saint- Remy-de-Provence in the south of France (1). The beautiful village houses, quaint restaurants and boutiques make it a lovely place to get lost in. Van Gogh lived in the area for a time and drew a lot of inspiration from the bucolic scenery. It is really charming to spot tree-lined landscape or church steeple that inspired one of his many masterpieces. An item I have added to my wardrobe is a Carolina Herrera classic white shirt. I like the feminine cut complemented with pearl detailing on the cuff s. It has become a go-to for both day and night. 1 6 4 3 4 AD_80_Style Maha Column_11067948.indd 8009/12/2019 04:19:02 PMAir of Grandeur Launched last year with four exquisite fragrances, Louis Vuitton’s scented candle collection has two contrasting additions. Écorce Rousse is inspired by the label’s historic atelier in Asnieres, combining leather and wood notes to capture its olfactory atmosphere. En Mai, meanwhile is a green, delicately fruity fragrance that brings to mind cut grass, blackcurrants and apricots. It’s delightfully transportative. louisvuitton.com ST Y L E / Fr a g ra n c e 81 AD_81_Style_Vuitton candles_10975934.indd 8109/12/2019 04:20:51 PM82 ST Y L E / A d d re s s Sanctum of Style Starchitect Peter Marino has given the Chanel Dubai Mall store a chic makeover that’s worth a closer look AD_82-83_Style_Chanel_10902507.indd 8209/12/2019 04:22:03 PMPH OTO : TH E M O R E LLI B R OTH E R S S T YLI N G : SO PH IE PE R A ( M AI N IM A G E ) O L IVI E R SAI LL ANT ( INTE R IO R S ) I always say that luxury consists of three things – space, light, and time to appreciate both,” says the architect Peter Marino over email. It's a punchy summation of how he creates unerringly stylish stores for the world’s biggest luxury brands, bring- ing their DNA to life through volumes, decoration and art. His most recent fashion fl agship in the Gulf is Chanel’s chic, two-sto- rey home in the Dubai Mall’s Fashion Avenue. Stretching over 760 sq/m, Marino chose a glamor- ous palette of white, black, buff and gold tones (all très Coco) with slub- by upholstery that riff s on classic Chanel tweeds. “Every store must be immediate- ly identifi able as a Chanel environ- ment, from the exterior to the fi t- ting room,” says Marino, who got his fi rst big break by redesigning Andy Warhol's apartment in New York in the Seventies. “There are certain codes and a material vocab- ulary which allows us to create unique spaces which are infused with the spirit of Chanel.” Much like Warhol (or indeed Gabrielle Chanel), Marino has cul- tivated a personal brand through his appearance, donning cartoon- ish leather biker gear while culti- vating an air of bad-boy swagger and a signifi cant client base includ- ing Louis Vuitton, Christian Dior and Giorgio Armani along the way. Known for being straight-talking, Marino’s visual language is more mellifl uous and intuitive. “To determine the DNA of a brand, fi rst I surround myself with the product, study its icons and try to ascer- tain its gestalt,” he explains. “Then I invent ways to express the emotional message of the brand, and sketch out its personality via diff erent colours, materials, light levels, sounds and tactility.” Beaded resin bracelet Leather and fabric lace-up boots Metal and glass bead earrings Tweed and felt hat Tweed and shearling clutch ABOVE: The elegant interiors of the Chanel Dubai Mall fl agship. Modern Classics In the Dubai Mall store, this manifests itself through subtle plays on the label’s iconic black-and-white motif with sprinklings of rock crystal, mirrors, and the pearls that Mademoiselle Chanel made so famous. The embel- lishments elegantly echo what's in store: the ground level is dedicated to ready-to-wear, shoes, handbags and small leather goods as well as precious and costume jewellery, while the fi rst fl oor has salons dedicated to VIP clients and special events. Art has been woven throughout the fabric of the store – there are gilded glazed ceramic sculptures by Johan Creten; a hanging sculpture of shells by Harald Fernagu; an abstract black ink artwork by Henri Michaux; and a college of camellias (Chanel’s most beloved fl ower) by American artist Peter Dayton. The boutique is also bedazzled with chandeliers and Lily Pad mir- rors created by the Maison d'Art Gossens. Founded in 1950 by Robert Goossens (and now helmed by his son Patrick), the atelier transforms bronze, rock crystal, wood and glass paste into jewels and decorative objects. Impressed by Robert’s jewellery inspired by antiquity, Chanel made him one of her suppliers in the early Fifties and encouraged him to experiment by making tables, lamps and mir- rors. The Goossens ateliers joined the Chanel Métiers d’art in 2005. “My job is to provide an atmo- sphere and sense of occasion that must be experienced in reality,” adds Marino. “The customer journey and product is enhanced through architecture and art, allowing people to leave with a positive impression of the brand. It gives visitors a cultural experience as they’re shopping, which is something they can’t get online.” Chanel.com – S AIQ A AJMAL AD_82-83_Style_Chanel_10902507.indd 8309/12/2019 04:22:15 PM84 ST Y L E / A rt is a n s T he choice of seemingly high-end, ‘designer’ spectacles has expand- ed exponentially in recent years. It’s now possible to face the world in eyewear from virtually every fashion house, a discrete label on the side of the arm giving a nod to their prove- nance, or a statement frame making a more brazen play for cool-factor. The right pair of spectacles can be transfor- mative, expressing seriousness, style nous or a sunny outlook in one swipe of a hand. So surely it’s worth investing in a designer-en- dorsed pair, we reason with ourselves. The irony is that the vast majority are mass pro- duced by just two huge conglomerates which Storied bespoke spectacle maker Maison Bonnet is looking to the future in style In the Frame have a global monopoly on designer eyewear licensing. For something truly luxurious and bespoke you have to look elsewhere. Maison Bonnet is a French atelier special- ising in the art of bespoke spectacles or haute lunetterie. The glasses it made for infl uential luminaries in the 20th century defi ned their look – Yves Saint-Laurent, Audrey Hepburn, Jacqueline Kennedy Onassis and Jacques Chirac, were all among Maison Bonnet’s cli- ents. Its opticals became signifi ers of power and discreet luxury, and the house continues to attract a discerning clientele. The Bonnet family has been crafting glass- es since the 1930s. Alfred Bonnet was a crafts- man in a spectacle workshop in Morez in the Buff alo horn, acetate and tortoise shell are all used to craft frames. BELOW: Yves Saint-Laurent sporting Maison Bonnet. AD_84-85_Style Maison Bonnet_11085884.indd 8409/12/2019 04:44:11 PMFROM TOP: Jacqueline Kennedy Onassis and Aristotle Onassis, both wearing Maison Bonnet opticals; retro-chic frames; an artisan at work; the London atelier. no compromise on that. We do something, then revisit it again – if it’s out by 1mm it has to be redone.” Allied with the quirks of biology are the high-tech kit and precise eye examinations that must be performed. Unsurprisingly, Maison Bonnet has state of the art machines, which are utilised with a very intuitive, per- sonal approach. Nor is it surprising that the technical side of things is not what excites Franck, but rather the quest for enduring style. “It’s an ongoing search for the DNA of a person,” he explains. “It’s important to fi nd something that refl ects the person who is wearing the spectacles, and that they aren’t so bold that they ‘wear’ them. It’s about blending the person with the opticals to create an eff ect that’s really chic and perfect.” The way the artisans work is modern and anachronistic at the same time. The process involves 12 precise face measurements; an eye exam by a certifi ed optometrist; up to nine months of fabrication depending on whether acetate, buff alo horn or tortoise shell is selected (they have a historic cache of the latter); and no less than 8 to 30 hours of handwork in the atelier. The only thing Maison Bonnet is doing to speed up the process and allow customers to leave the store with something if they so wish, is to have two of each frame in stock; previously, in the Paris atelier, there was only one and you’d have to wait months to receive your tailored frame. Despite the wait, demand is growing. Perhaps the increasing speed of the digital age and the homogenisa- tion of style globally has led to a greater appreciation of craft and individuality. Franck asserts that it’s ‘the golden age of bespoke’ because it is in contrast to all this instant gratifi cation and disposability. “Today you can buy a Tesla car in two clicks, but on the reverse, people appreciate this return to craftsmanship and timeless things.” maisonbonnet.com – T ALIB CHOUDHR Y French Jura Mountains (still known as the eyewear design capital of the world) and his charismatic son Robert founded Maison Bonnet in 1950. Today, the fourth generation of the family, led by Franck Bonnet and his brothers, strives to keep this unique know- how alive. “Our mission is to preserve and transmit our family heritage,” he explains. “We make timeless accessories that express the personality of their wearers. Each pair is created sur-mesure to fi t their anatomy, char- acter and lifestyle.’ After being an insider secret for decades, the fi rst Maison Bonnet boutique opened in Paris’ Palais Royale in 2009, and another fol- lowed last year in London. Located on Staff ord Street in the heart of Mayfair, the six-storey townhouse was designed by cele- brated French artist and designer Pierre Bonnefi lle as a ‘living studio of artisans’ rath- er than a retail space. And the process is truly artisanal: each frame is entirely bespoke and takes approximately two to four months to be handmade in Maison Bonnet’s Burgundy workshop, before it is fi nished and fi tted at the Paris and London ateliers. The staff are intensively trained in every aspect of the process and can make a pair of spectacles themselves before they ever serve a customer. “They’re really a rare breed,” says Franck. “It takes 10 years for them to be con- sidered master craftspeople. The job is full of challenges and it has a lot of restrictions. First of all, everyone has a diff erent face so you have to work around that. And when you do bespoke, it’s down to the millimetre. There’s “Yves Saint-Laurent, Audrey Hepburn and Jacqueline Kennedy were all Maison Bonnet clients” AD_84-85_Style Maison Bonnet_11085884.indd 8509/12/2019 04:44:31 PMAt Hermès, even the smallest pieces in its home collection are honed to perfection IN FINE DETAIL R ed, yellow, orange, blue. You see the colours fi rst, deftly composed in graphic blocks, some thin, some robust, others curving into sinuous silhouettes. Step closer, and the textures of the layered materials become apparent, along with beaded embellishments whose sheen invites still closer inspection. Displayed in the dramatic setting of a labyrinthine stone maze, this vibrant creation is not a painting, but rather, an exquisite blanket, which blurs the boundaries between craft, design and art. It’s the perfect embodiment of Hermès’ approach to creating items for the home, one that places the quest for perfection above all else. This tapestry-like textile is more likely to be hung on a wall and admired than huddled under, but Anne-Sarah Panhard, managing director of Hermès home collections insists there’s a practical impulse behind all of the company’s painstakingly pro- duced items for the home: “They have to be beautiful, con- temporary items that people want to use in their homes, but there’s also always a timelessness to Hermès prod- ucts,” she says. “We’ve had furniture since the 1920s with the Jean-Michel Frank collection, and we also had some decorative porcelain and accessories.” Retaining the lustre of artisanal allure is essential to Hermès’ very essence and desirability. Its emphasis on extolling the virtues of exceptional craftsmanship rather than just pumping out products to ratchet up profi ts sets it apart from other luxury brands. Less than 30 of these incredible blankets have been made. “Initially, we don’t decide on the number of an item that we will produce,” explains Panhard. “Whether it’s 25, 200 or 2000 will come down to the complexity, the hours it takes to make a product and the number of people in the world who can make it.” 86 ST Y L E /C raf t AD_86-87_Style_Hermes_11025196.indd 8609/12/2019 04:47:10 PMuct in the way that, say, an It bag can drive fashion sales. Scalability is also an issue when you’re working with small workshops. “I wish that we could do more and do it quick- er in many categories, but it’s not happening as we don’t want to compromise on quality because really that’s what Hermès stands for,” says Panhard. What they are doing, is investing in some of the work- shops to help them grow at a measured pace, ensuring that the new craftspeople are trained properly, which often takes years. “In some areas we know we have huge potential for growth so we keep an eye on them,” she adds, “I strongly believe there’s an increasing appetite for home in this digital world, because you want to relate with emo- tions. Those moments you spend at home with family and friends or just taking time for yourself are precious.” And all the more pleasurable to savour when you’re surround- ed by exceptional objects. hermes.com – T ALIB CHOUDHR Y “How many we produce depends on the number of people in the world who can make it” The rarity and quality of the materials used is also at play here (think fi nely spun yak wool, precious wood and super-soft silk), as well as the expertise that goes into turning the ordinary into the exceptional (picture straw marquetry polished to a mirror shine). Often, even making the smallest, seemingly simple object is technically very diffi cult to achieve. Combining ‘living’ materials such as leather and mahogany in an exquisitely lacquered trinket box can take upto a year, with precision and patience needed to achieve perfection. The wood can expand, so you have to wait for months before applying the lacquer to ensure it doesn't crack. “We tend to go around the world to fi nd the best mate- rials and pair them with the best know-how,” says Panhard who speaks to the artisans in the Hermès design studio and the deputy artistic directors of home, Charlotte Macaux Perelman and Alexis Fabry, every day. “My role is to make their vision into a reality – to put it into music. That’s why I need to have this constant dialogue.” The thread that connects all Hermès products, from fashion to fragrance, is quality and attention to the tiniest (often hidden) details. But how to marry the quest for per- fection with commercial targets? The comprehensive off ering in the ‘maison universe’ (where tea cups and pic- nic baskets are treated with the same reverence as dining tables) is a strength, but also presents a challenge for Panhard, as it is diffi cult to capitalise on one type of prod- Garde-Robe Pop ashtray. TOP RIGHT: Samarcande paperweight. OPPOSITE PAGE: Hermès blankets on display during Milan Design Week. P H O TO : ALE X A N D E R W O LFE AD_86-87_Style_Hermes_11025196.indd 8709/12/2019 04:47:27 PMPerfect Timing Inspired by the Middle East’s rich architectural heritage, Vacheron Constantin unveiled a limited-edition timepiece during Dubai Watch Week Still life Photography Alexander Wolfe Set Design Lauren Haslam AD_88-93_Style_Vacheron_11065428.indd 8809/12/2019 04:48:43 PMABOVE: The Patrimony Middle East Edition features a distinctive salmon-coloured dial – a contemporary expression of classical codes, inspired by the worlds of design and architecture. OPPOSITE PAGE: A similar balance of old and new can be seen here. The ceiling of a contemporary space at heritage site Qasr Al Hosn, a fort built in 1795, is inspired by the polygonal-patterned shapes of the dried salt fl ats which surround Abu Dhabi. ST Y L E / W a tc h e s 89 AD_88-93_Style_Vacheron_11065428.indd 8909/12/2019 04:48:54 PMNext >