the magazine summer 2010



the magazine summer 2010
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08/06/2010 14:23
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Sand, sea and slice
on the world’s top
links, p.56
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Huon Mallalieu on forthcoming
international arts events
Bahamas beauty:
luxury summer
fashion, p.62
Huon Mallalieu plots a course through the
world of antique maps
Matt Carroll chooses the finest cars for
children – pedal cars that is
Jennifer Sharp on smart seaside restaurants
along the French Riviera
Rory Ross relishes the wines of South
Africa amid their beautiful surroundings in
the Western Cape
Gabrielle Donnelly meets a still vital but
more reflective Michael Douglas
Clive Aslet discovers Knokke,
Belgium’s exclusive North Sea resort,
has much to offer
Max Davidson mingles great food, golf
and a mixture of cultures off the beaten
track in unspoilt Sicily
Adam Ruck finds that sea and golf
together make for a perfect summer
Bahamas beach style means far more than
chucking on a new bikini
Vivienne Becker finds treasures of the deep
and secrets of the sand have inspired some
glorious jewellery
Gabrielle Donnelly talks to Freida Pinto,
the beauty from Bombay
News and developments from the world’s
most exclusive airline
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Celestria Noel
Sun, sand and swing
Jonny Clark
Matt Dykzeul
Helen Cathcart
However, holiday pleasures can vary. For some, the South
of France still ticks all the boxes and their idea of heaven is
the exacting and sometimes exhausting elegance of the fine
hotels and restaurants along the Côte d’Azur, playground
of stars. The stars themselves may prefer somewhere more
discreet and laid back, such as Bermuda, which is beloved
of Michael Douglas. It was his mother’s family home and
is the place he likes to get away from it all with his wife
Catherine Zeta-Jones and their children.
A compromise might be the slightly less quiet
Bahamas, where elegance still rules, but of a more relaxed
kind than is demanded by the South of France, as you can
see in our fashion shoot, which took place in Nassau. My
own younger brothers had the greatest fun at Lyford Cay
in the Bahamas, riding round in golf buggies, which would
be frowned on today. Equally spoilt youngsters can,
however, enjoy a range of pedal cars which would make
Bugsy Malone himself green with envy, without riding
roughshod over greens and making golfers see red.
For a great many people the sight of an attractive bit
of coastline is improved greatly when some of the nice,
clean white sand is neatly contained in bunkers. Luckily
there is a huge choice of links around the world, some of
which can be sampled in this issue of the magazine. Rocco
Forte’s new golf resort and spa has finally given Sicily a
seaside course, after years of battling the planners. Golf has
long been part of the mix at Knokke in Belgium, an
exclusive and thriving seaside resort, where houses on the
course go for millions of euros, and there is also a nature
reserve, tennis and great riding to be had. If neither Sicily
nor Belgium appeals then we have a quick round-up of
many more top European links from Scotland to Spain
and Ireland to Corsica. Tees up...
Steve Handley
Antonia Ferraro
KFR Reprographics
Polestar Wheatons
Angus Urquhart
Michael Keating
Simon Leslie
Hugh Godsal
Jeffrey O’Rourke
+44 (0)20 7613 8777
PrivatAir SA
Chemin des Papillons 18
PO Box 572, 1215 Geneva 15
Telephone +41 (0)22 929 6700
Fax +41 (0)22 929 6701
[email protected]
Having been editor of Country Life
for 13 years, he is now editor at
large. He has written many books
including Landmarks of Britain and
The English House. For Villages of
Britain, published this autumn, he
visited 500 villages. He is now
studying the architecture of Haiti,
devastated by the earthquake. He
lives in London and Ramsgate
with his wife and three sons.
Adventure travel and motoring
specialist Matt Carroll has written
for some of the world’s leading
newspapers and magazines
including GQ, the Guardian, the
Sunday Times and many more. Based
in South London he’s currently
pedalling his way through England
on a bike as part of his latest book,
which is due to be published next
spring. Its title is still under wraps.
Max Davidson contributes regularly
to many newspapers including the
Daily Telegraph. He is a former
restaurant critic as well as a prolific
travel writer. His novels include The
Wolf, Suddenly in Rome and The Greek
Interpreter. He has written about
sportsmanship in It’s Not the Winning
that Counts and is now working on
a book about the art of apologising,
The Hardest Word. He lives in Oxford.
PRI_007_privat_contentsSF.indd 8
© Ink. All material is strictly copyright and all
rights are reserved. Production in whole or part
is prohibited without prior permission from the
publisher. Opinions expressed in PrivatAir the
Magazine are not necessarily those of PrivatAir
10/06/2010 14:09
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PrivatDiar y
huon mallalieu previews forthcoming
international arts and cultural events
An eye on the Bay of Naples
photographing the city of Naples
over the last eight years. Initially
seduced by the humour and
vivacity of the city, the snapper
soon discovered that a parallel and
much darker story prevails. Scratch
the surface and a truly pagan town
is revealed, one that looks back
directly to its ancient Greek
origins. ‘Naples,’ the old joke goes,
‘is the only Middle Eastern city
without a European quarter.’
The town is a constant source of
bafflement, one that throws up
many questions and answers none.
Some 50 striking and
evocative black and white
photographs will be on view
from 1 July till 12 September at
London’s Estorick Collection, in
collaboration with Museo d’Arte
Contemporanea Madre, Naples.
The exhibition is called Siren City,
echoing the strong call of the city
and its inhabitants to the
photographer. Shand Kydd says:
‘A gift for the photographer is the
theatricality of the city which uses
every street and piazza as its stage.
Privacy is an utterly foreign
concept here with every door open
for those outside to glimpse in and
those inside to gaze out.’
His photographs show the
citizens of Naples going about
their business, such as cadets
outside Café Gambrinus, an
elegant café near the Royal Palace,
which Oscar Wilde favoured
during his stay after release from
prison in England.
Shand Kydd says: ‘The
Neapolitan responds to the
camera lens in a unique way.
There is no coyness. These cadets
know that they look splendid and
respond to the camera
Influenced by neo-realist
filmmakers such as Luchino
Visconti, he aims for an honest
view of the city rather than the
Naples usually seen in lifestyle
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This side of Paradise, Oliver Messel style
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PrivatDiar y
Sea of hope
Hiroshi Sugimoto,
whose work will
be included at the
inaugural Setouchi
Festival, stands
by his photograph
Hyena-JackalVulture (1976)
Art Festival is being launched in
July as a triennial event to
celebrate the culture of Japan’s
Seto Inland Sea and its many
islands, and to ensure that it
survives into the future.
From time immemorial, the
Seto Inland Sea has been an
important line of communication
and trade. Boats from the
mainland brought new influences
to the many islands, and over time
each developed its own unique
culture. This rich heritage, along
with its beautiful scenery – Kaneto
Shindō’s 1960 masterpiece The
Naked Island remains one of my
favourite films – is still evident
today, set against the backdrop of
tradition, but globalisation and
increasing homogenisation are
killing the island’s individual
characteristics, as the population
ages and prosperity declines.
The organisers of the Setouchi
International Art Festival
‘100-Day Art and Sea Adventure’
(19 July–31 October) hope to
revitalise the islands of the Seto
Inland Sea, making it a ‘Sea of
Hope’ for other special places in
the world. They intend it to be a
two-way experience: the
collaboration of modern artists,
architects and local residents
attracting people from all over the
globe, and allowing local citizens
to interact with the wider world.
Thus the festival blends the
history, folk customs,
entertainment, festivals and
traditional characteristics of the
region with contemporary art,
architecture and drama, all offered
in the beautiful natural setting that
is inherent to the Setouchi area.
Involved are 76 artists and 10
events from 17 countries and
Japanese regions.
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PrivatDiar y
Along the Arno
FORANYONEWHOENJOYED the major exhibition the Drawingsof
Bronzinoat the Metropolitan Museum of Art, New York, this spring,
Bronzino: Artist and Poet at the Court of the Medici, the first exhibition
devoted to his paintings, will be a must-see at the Palazzo Strozzi in
Florence this autumn (24 September–23 January 2011).
Agnolo di Cosimo Tori, known as Bronzino (1503–1572), embodied
the fullness of the mannerist style, and is considered one of the greatest
16th-century masters. He was born and died in the city, and was court
painter to Cosimo I de’ Medici, so Florence is a natural home for this
show. Great portraits and religious works have been brought from Paris,
Madrid, Frankfurt, Moscow, Washington and Ottawa to join those
already in Florentine collections. They include both studies of the Holy
Family and other religious subjects but also striking portraits.
In conjunction with the exhibition, the Fondazione Palazzo Strozzi
has commissioned a piece of contemporary mannerist music by the
American composer Bruce Adolphe, for madrigal choir, harpsichord,
viola da gama and vibraphone. Of Art and Onions: Homage to Bronzino,
a co-production with the Learning Maestros, New York, sets to music
poems by Bronzino including The Onion and On Being Famous, as well as
sonnets by Petrarch. The work will have its European premiere on 8
October at the Teatro Goldoni in Florence.
Holy Family
from Moscow’s
Fo u r t e e n
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PrivatDiar y
Performing at what has
become the most extensive free
jazz festival in the world
Lakeside jazz & mobiles
Duke Ellington died in the
summer of 1974, several dozen
local musicians met to honour him
in Chicago’s Grant Park on the
shore of Lake Michigan. Ten
thousand music lovers turned up
for what became the first annual
memorial concert. Then in 1978,
musicians working with Chicago’s
Council of Fine Arts held the first
John Coltrane Memorial Concert,
also in Grant Park and another
popular success. The next year the
Jazz Institute of Chicago began
planning its own August festival.
That meant that three different
groups of jazz people were working
to present concerts at about the
same time.
For once the obvious solution
was adopted: they got together and
created the Chicago Jazz Festival,
with an Ellington night, a Coltrane
night and five other programmes
organised by the Jazz Institute, held
in the new Petrillo Music Shell.
And 125,000 people came to listen,
dance, picnic on the grass, and
enjoy the birth of what is now the
most extensive free jazz festival in
the world. Every year since then the
Chicago Jazz Festival has taken
place on the Labor Day weekend,
this year 4 and 5 September. The
Mayor’s Office of Special Events
coordinates it and the Jazz Institute
programmes it.
Overlapping with it this year is
a major show at the Museum of
Contemporary Art, Alexander
Calder and Contemporary Art:
Form, Balance, Joy (26 June–17
October), exploring the sculptor’s
significance for the generation of
contemporary artists since the
mid-1990s. Calder’s hands-on
explorations of form, balance,
colour and movement make him
instantly recognisable, and the
show adds works from both
national and Chicago area public
and private collections to the
MCA’s extensive holdings. It also
features seven sculptors directly
influenced by Calder, including
Martin Boyce, Nathan Carter and
Abraham Cruzvillegas.
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10/06/2010 11:00
A useful way of f inding where you are,
a metaphor for power or an object of desire –
as huon mallalieu discovers, a map can
inspire as well as inform
aps have always appealed to
the world’s richest and most
powerful people. Last autumn,
two great examples made
headlines when they sold to
eager buyers, one on the gala
evening of the International
Fine Art and Antique Dealers’
Show in New York – a remarkable social occasion that raises millions
of dollars for the Memorial Sloan-Kettering Cancer Center – the
other at Christie’s in London.
Created in about 1600 and one of only seven known examples,
the 12.5-foot by 5.5-foot Ricci Map was the star of London specialist
Bernard J Shapero’s stand at the show, taking up a complete wall.
Made by Matteo Ricci, an Italian Jesuit, for the Chinese market, it
shows a China-centric world. It is the first map in Chinese to show
the Americas and the first printed map to combine eastern and
western cartography. It is printed on rice paper from six wood blocks
and is designed to be mounted on a folding screen. No other
example is known in either the US or China. It was bought by a
philanthropist, for a sum in the region of a million dollars, making it
the second most expensive printed map ever sold, following the 1507
Waldseemüller world map – the first to name America – bought in
2001 for $10m by the Library of Congress. The Ricci buyer has now
presented it to the University of Minnesota.
The map in Christie’s October 2009 Islamic auction was an ink
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This ink and
wash map sold
by Christie’s in
2009 is a Turkish
chart of the
and wash Turkish navigational chart of the Mediterranean, also dating
from around 1600, about a century after the first known Ottoman
portolan charts. It was drawn on two sheets, 93.5 inches by 103 inches
overall, and shares many conventions with European cartography,
including the compass rose and the little profile drawings of coastal
towns and forts, but it looks rather more accurate than its western
contemporaries, including the Ricci. As usual in early maps, bays and
headlands are often exaggerated, because that is how they are seen.
The earliest Islamic charts come from the Maghreb rather than
Constantinople, and one feature makes me wonder whether this was not
also North African. The greatest exaggeration is of the Tunisian coastline
perhaps, perversely, indicating that the map-maker was most familiar
with it. This intriguing map sold to a collector for £1,071,650. Prices for
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the very rarest maps can be higher still. For instance, a 15th-century
edition of maps by the second-century Greek mathematician Ptolemy
sold for $4m in 2006.
Google Earth is a fine toy and provides a marvellous displacement
activity, but to make sense of what it reveals one often needs to have a
good traditional map beside the screen. However, maps have served
many purposes other than the dry provision of topographical facts; they
may be instruments of power, propaganda, speculation and art, as the
British Library’s Magnificent Maps exhibition (to 19 September)
demonstrates. The poet Laurence Binyon, best remembered now for For
the Fallen (They shall grow not old, as we that are left grow old: Age shall not
weary them, nor the years condemn) was also Keeper of Prints and
Drawings at the British Museum. His daughter Helen once told me that
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he never felt the urge to collect for himself, having had the run
of one of the world’s greatest accumulations. Peter Barber, Map
Librarian at the British Library and curator of the exhibition,
agrees. In 30 years at the Library he has managed to examine
fewer than one third of the over four million maps that it holds.
In his thoroughly readable catalogue, Barber shows the many
occasions where maps are used as metaphors for power: for
instance, the opening sequences of Dr Strangelove or Godfather
III; in the latter, the extent of global corruption is symbolised by
the world maps that serve as the backdrop to a secret meeting
between mafia leaders and senior American politicians.
Such factors were there from the beginning. The earliest
surviving maps, a painted frieze of three north Cretan seaside
towns, just pre-dating the 1500 BC eruption of Santorini, have
what Barber calls ‘emotive power’; that is to say, they are not
purely geographic, nor for administrative use. They are intended
to glorify their owners. Thus many early maps were large and made
for the grandest locations, such as the mosaic floor at Madaba
or the walls of Nero’s Golden House, and later the magnificent
frescos of the Galleria delle Carte Geografiche in the Vatican.
The exhibition itself begins with a series of 16th-century
maps broadcasting blunt messages of power: ships,
fortifications, images of Neptune, Mars and Pallas Athene
reinforce the sense of power and authority in maps of Venice,
Amsterdam, or the various states of Europe. On a local level,
pride in ownership can take endearing forms. A most enjoyable
exhibit is John Darby’s 1582 map of the parish of
Smallborough in Suffolk, made for Sir Philip Parker, which
shows in loving detail the mix of marshland, heath, meadow,
arable and pasture, orchard and garden, strip farming and
The Fra Mauro
enclosed fields, the animals of the countryside, buildings and
World Map (c.1450)
farmyard activities, hunting and shooting, and even a strolling
by William Frazer,
beggar with a monkey on his shoulder.
(1804) – a handdrawn copy of the
The exhibition offers maps from the 1400s to the present,
first great modern
including the 1660 Klencke Atlas, the world’s largest, and
world map, made
highlights the sheer artistry involved in their production. It is
for the British East
India Company as
salutary to realise that north does not have to be at the top, nor
self-perceived heirs
are maps inevitably Eurocentric. Medieval Christian maps
to the Portuguese
focused on Jerusalem, the navel, and for the Chinese the
empire in Asia
Celestial Empire was the natural centre of the world.
Collecting maps can be addictive. During school and
university holidays in the mid-1960s, I used to haunt Cecil
Court and the alleys off London’s Charing Cross Road. Despite
the threat posed by rising business rates, Cecil Court is still home
to antiquarian and second-hand booksellers, but there were many
more then, and also not-quite-junk shops, now virtually extinct,
in which one might find real treasures. I used to buy Robert
Morden English county maps, at £8 or £10 each. Over at
Christie’s they sold for £20 or £30, depending on the popularity
of the county. Now good ones are priced in the hundreds.
Morden was working as bookseller, instrument and globe
maker and cartographer between 1668 and 1703, and is best
regarded for sets of geographical playing cards. The county maps
of his predecessors Christopher Saxton (c.1543–c.1610) and
John Speed (1552–1629) are rated more highly, and I could not
then afford them. All were reprinted many times with coloured
reproductions being common, and anyone wanting to collect,
rather than buy something decorative, should develop an eye for
them. The eminent London map dealer Jonathan Potter, whose
Collecting Antique Maps (revised 2001), is the first port of call for
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a new collector, just as his New Bond St gallery is the second, caught the bug
as a teenager in Portobello. He says for serious collectors there are ‘upwards of
100 notably different maps of each county’ before 1850, with many further
variations of state and edition. County maps, incidentally, do not appeal only to
the British. They have quality, beauty and interest, and because they form
satisfying and finite series – all maps of one county, all counties by one
cartographer, say – they find enthusiasts around the world.
As with British counties, so with countries; some are popular, others not.
Peter Barber tells me that while there are collectors in Germany, Switzerland,
the Netherlands, the United States and many other countries, there are
unexpected blank areas – ‘ Here be no collectors’. The French, for instance,
rarely show any interest, for reasons Barber is at a loss to explain. Thus
French cartography could make a fertile field for a new collector.
Collectors come to maps from many directions. There are local historians,
or specialists in particular regions. Some come to atlases by way of printing
history. There are those who value the stories that maps tell. I feel sure that
André Navez, a lifelong collector from Massachusetts, is not alone in having
first been fascinated by the pull-out maps that came
with National Geographic, which he would pin up in
his boyhood bedroom. Navez – although of
Walloon descent, not to be confused with his
namesake the Belgian painter – had a distinguished
American foreign service career, and maps were
essential preparation before any posting. They were
also mementos and souvenirs, and gradually he was
drawn to the historic, and to thematic cartography,
showing, say, populations, religions, vegetation or
geology. He collects series, and is particularly happy
with his coverage of China, from Ortelius up to
about 1800. Despite living in a rambling
farmhouse, display space is becoming a problem.
Others, he says, collect printing history, or curiosities, such as maps of
Europe with the countries as caricatures, or maps showing features that
never actually existed. These famously include Lower California as an
island, the fictional Lakes Zephlon in Congo and Parima in Venezuela
(beside which is El Dorado), and another of China showing that country
as the source of all the great Asian rivers. Then there are specialists in sea
charts, town plans, bird’s-eye views and panoramas, not to mention globes.
Whatever your speciality, Navez rightly stresses that a real map collector
must also collect real books – not just coffee-table beauties, but scholarly
works to help understand the subject. ‘Otherwise, you are like those people
who buy their libraries by the shelf-yard,’ he says.
Besides Bernard Shapero and Jonathan Potter, major London dealers
include the Altea Gallery, a neighbour of Shapero in St George St, W1, and
when in Brussels Navez always visits Elisabeth Hermans in the Sablon. In
New York are Cohen & Taliaferro, E 54th Street, Martayan Lan, E 55th
Street, the Old Print Shop on Lexington, and a favourite of mine, Argosy on
E 59th Street. There is also W Graham Arader III, who has been credited
with creating today’s hot market in antique-map
collecting. He is not approved of by all
bibliophiles, partly for his marketing methods,
partly because early in his career he committed
the high crime of breaking atlases to sell off
individual plates. Arader wasn’t alone in this, and
now he has a multi-million business with galleries
in Houston, San Francisco, Philadelphia and
New York and a mailing list of 3,000 collectors.
Malcolm S Forbes was a regular client. The old
saying goes that history is about chaps and
geography about maps, but in fact maps are a
wonderful way of looking at history, politics and
power, and are a source of endless fascination.
artists are still
playing with maps,
as shown in this
detail from The
Island (2008) by
Stephen Walter.
Below: the Klencke
Atlas, by Johan
Maurits of Nassau
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17/06/2010 13:01
Reaching the pedals
matt carroll looks at some iconic and
collectable miniature cars for lucky brats. Just
don’t let them say ‘I’m bored’ in one of these
Who says you have to wait till you’re a grown-up to get
behind the wheel of an exotic car? In recent years, various
famous manufacturers have launched pedal-powered
miniature versions of their automotive icons, including
Ferrari, Jaguar and Porsche, each one worthy of a parking
space in the garages of serious collectors – whatever their
age. Our particular favourite is the 1:2-scale Auto Union
Type C produced by Audi, a model of the illustrious
machine that dominated the pre-war racing scene, winning
the 1936 German, Swiss and Italian grands prix in the
hands of legend Bernd Rosemeyer, not to mention the
European Mountain Championship.
Crafted in the Audi Design Studio in Munich, this
gorgeous little car features an aluminium tubular frame
and body panels, with no fewer than 900 individual pieces,
each one made especially. Aside from the sumptuous
leather seats and an oak dashboard, there’s a seven-speed
hub transmission, hydraulic disc brakes and locking
handbrake. But perhaps the coolest detail is the detachable
steering wheel (which is leather, of course), allowing young
hot shots to extricate themselves quickly during pit stops
(AKA supper).
Better be quick if you want one, though: there are only
999 available, each costing £10,000.
Tw e n t y - F o u r
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Slightly less pricy, but just as refined is this laid-back beauty
from quintessentially English marque Morgan. Launched to
commemorate the 100th Anniversary of the iconic 1909
eponymous three-wheeler, this pedal-powered version is
rather like a recumbent bicycle – only much more stylish. The
two-thirds-scale model is crafted from lightweight
aluminium and even includes an imitation of the famous
V-twin engine – along with a tubular chassis. Not only that, it
comes complete with working lights, a hand-stitched leather
adjustable driver’s seat, chrome effect exhaust pipe and
beautiful, wire-spoke wheels. What’s more, with a threespeed crank it’s surprisingly quick off the mark – rather like
the petrol-driven originals. And lest anyone question its
pedigree, these 500 limited-edition models are built and
assembled to order in the Morgan factory in Worcestershire,
England, alongside their modern road-going siblings. A
guaranteed collector’s piece for just £2,510.
You’re never too young for your first Ferrari – albeit one made
under licence by US company Berg Toys. Based on the
spectacular FXX ‘hypercar’ that was launched about five years
ago for the Italian brand’s most cherished consumers, which
features F1-style onboard telemetry systems and gearboxes,
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Previous page: Auto
Union Type C.
Right: Auto Union
steering wheel.
Far right: Ferrari
FXX Evolution.
Below: Super Sport
from Morgan
this pedal-powered FXX-lite is the pedal car equivalent. Aimed at young
chargers aged five and upwards, it’s decked out in distinctive red faring,
race decals and chunky, five-spoke alloy wheels. Not only that, but the
FXX has disc brakes and semi-slick ‘race’ tyres – ideal for youngsters
looking to emulate the performances of Ferrari’s F1 heroes, Felipe Massa
and Fernando Alonso. It comes with seven-speed transmission and
onboard digital computer, allowing them to log their lap times – crucial
in the pursuit of ultimate pedal car performance.
There are two models to choose from: the basic FXX and the
souped-up version, dubbed the Evolution with sporty additions like a
racing-style bucket seat, four-point safety harness, leather steering wheel
and an aero kit aimed at reducing drag. Potentially a vital addition when
they’re rocketing along at dizzying speeds of up to 10mph. Prices start at
around £493 for the standard FXX model; £1,820 for the FXX Evolution.
If it has to be a Ferrari but your child has graduated from pedal cars
to something with a motor, you could try to track down a miniature
model of the classic 80s icon, the Testarossa. It may be small – just seven
feet long – but it’s perfectly formed, with a lightweight fibreglass body,
disc brakes all round, three-speed transmission (along with reverse) and
full suspension. Inside, your lucky little one will find themselves
cocooned in soft leather seats, and can even blast their favourite sounds
through the built-in CD player and 80s-style tape deck. Other working
elements include headlights, horn and indicators, and there’s even room
for a passenger. To ensure that things don’t get too out of hand, however,
top speed is limited to around 30mph – thanks to a five horsepower
Briggs & Stratton petrol engine. Although originally offered by child’s
toy emporium FAO Schwartz for £50,000, the St Louis Car Museum &
Auto Sales recently put one on sale for less than half that. Not often that
you’ll find a Ferrari devaluing quite this much…
R E P L I C A B U G AT T I T Y P E ‘ B A B Y ’
If you don’t have (or need) the excuse of an upcoming youngster’s
birthday to justify your purchase, why not go for something really special.
Back in the late 20s, Ettore Bugatti produced a series of Type 52 cars
nicknamed the Baby, which were half-size replicas of the ultra-successful
Type 35 machine that won more than 1,000 races throughout Europe.
The original Type 52 was created by Bugatti for his son, Roland, but
from 1927 to 1930 he went on to create more than 250 others for the
offspring of Europe’s great and good. Back then they were the ultimate
accessory – ideal for budding young piloti.
Powered by a 12-volt electric motor, the car featured a four-speed
gearbox and could reach speeds of around 11mph, all brought under
control by wooden drum brakes – pretty sophisticated stuff back then.
Highly collectable, examples still crop up in various international auction
houses, routinely raising figures of around £35,000. But if patience is not
your strong point, specialist company Authentic Models has launched a
limited series of replica replica Type 52s, costing around £6,350 –
excluding the electric motor and requisite wiring. Although not officially
licensed by Bugatti, this 21st-century Baby would look wonderful as an
automotive objet d’art.
One of the most gorgeous models on the market is the Alfa Romeo
replica, based on the classic 8C racer from the 30s. Built by the UKbased company, Stevenson Brothers, who also happen to supply the
British royal family with rocking horses, it is hand-built to impeccable
standards using lightweight aluminium and wood. With smart features
like wire-spoked wheels, leather bonnet straps and cockpit details, it’s the
kind of thing that will get passed down through the generations –
ensuring that your £3,899 is well spent. And if you’re looking to make it
even more special, why not go for a customised paint job? Meanwhile, if
your designated driver would prefer something without pedals, you could
always opt for the electric-powered Bentley instead. Decked out in
British Racing Green, this little beauty is capable of whizzing along at
nearly 12mph, thanks to two 12-volt batteries, and has a range of around
three miles. From £5,581.
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RM 016
From 74 000 €
No.00000 Richard Mille 1pp.indd 1
17/06/2010 09:48
The Monte Carlo
Beach Hotel’s Le
Deck restaurant
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Seaside gastronomy today along the Côte d’Azur is far more
than fresh f ish and sauce vierge. Jennifer Sharp unveils
the irresistible mix of glamour and serious cooking with
which the Riviera shrugs off its rivals
Few places live up to iconic status as effortlessly as this hotel, originally a
grand Napoleonic mansion surrounded by ravishing rose gardens, pines,
palms and specimen trees. A majestic walk stretches down to the sea and
Pavilion Eden-Roc, which holds a gourmet restaurant, piano bar and
informal Grill overlooking a spectacular infinity swimming pool, diving
boards into the sea and private jetty. It takes your breath away.
Despite its impressive history, there is a gaiety and carefree style to
the hotel. Staff are warm and relaxed, unfazed by celebrity. For Arnaud
Poëtte, chef des cuisines since 1992, nothing is too much trouble and
he has cheerfully introduced a sushi bar for the summer months to
complement his Provençal cooking. The Restaurant Eden-Roc is a
bright, spacious room that seems to float in space with airy white
trellis and basketwork chairs, lavish flowers, mirrors, delicate
chandeliers and huge windows overlooking the water. Tables on the
terrace outside and the staff inside are clad in dazzling white linen.
The gourmet menu ranges across the Mediterranean with freshly
caught fish and shellfish, sunbaked local fruit and vegetables, the finest
French meat and poultry, Italian pasta and rice. The cooking is subtle
and original, refreshing well-known dishes such as salade Niçoise,
soupe au pistou and wild sea bass perfumed with basil and served with
a mousse of fresh fennel. Steak Diane is flambéed at the table with a
dramatic flourish and there’s a trolley for fine cheeses and another for
desserts by award-winning pastry chef Lilian Bonnefoi, who brings a
playful sophistication to the menu. The 34-page wine list has the
greatest French and Italian labels, 20 fine Champagne marques, 11
different mineral waters, plus a modest nod to the rest of the wineproducing world.
Step outside the gourmet restaurant, past whimsical frescos and
photographs of Hollywood stars, and down into the Grill with a
relaxed menu of fresh fish, oysters, beef carpaccio, salads and
sandwiches, and simple dishes like steak tartare, prawns a la plancha or
white salt cod aioli served in broth. With a breathtaking view and
cosseting service, it’s pure heaven.
Though it’s strictly in France not Monaco, the Monte Carlo Beach
hotel and club is part of the Societé de Bains de Mer which includes
major landmarks of the principality such as the Hotel de Paris, the
Hermitage, the Casino, Les Thermes Marins and Le Sporting. To
celebrate its 80th anniversary last year, Monte Carlo Beach was
refurbished by designer India Mahdavi and reopened in May 2009
with sumptuous interiors and a bold colour palette inspired by
Matisse. The hotel is tiny, just 40 rooms, but the extensive sea front,
water sports, restaurants and bars attract a fashionable crowd
throughout the summer. In the grounds stands the handsome Villa La
Vigie, occupied for 14 years by Karl Lagerfeld and now available to
rent; bungalows throughout the property have been family summer
homes for generations.
Monte Carlo Beach has something for everyone. There’s a large,
informal restaurant, Le Deck, alongside the Olympic swimming pool;
the trendy Sea Lounge for tapas, sushi and parties; while in July and
August, on a promontory jutting out into the sea, the open-air
restaurant La Vigie attracts a starry crowd who arrive by boat.
At the heart of the hotel is the restaurant Elsa, named after the
legendary Elsa Maxwell (1883–1963), the American writer and
socialite who enhanced the reputation of Monaco and organised the
inauguration of Monte Carlo Beach. Her lavish parties mixed
millionaires with aristocrats and artists, and she famously introduced
Maria Callas to Aristotle Onassis.
The decor of the restaurant is crisply modern with blue and white
lattice walls. Bold furniture echoes the nautical circles of capstans and
portholes, while the doors open onto a ravishing semi-circular terrace
overlooking the sea with white furniture and parasols. Elsa is an
unashamedly gourmet restaurant with a wide-ranging menu of
adventurous and classic dishes. There’s fresh crab and chilli served in a
sea urchin shell, frogs’ legs breaded with polenta served with watercress
cream, baked sea bass with red pepper sauce, and fillet of beef in a
truffle consommé. There’s also turbot cooked in ‘grandmother’s
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129 Fulham Road, London, SW3 6RT
Tel: 0207 581 3239
No.00000 JURA 1pp.indd 1
3 Burlington Gardens, Mayfair, London, W1S 3EP
Tel: 0800 011 2704
17/06/2010 11:18
casserole’, oysters, caviar, foie gras with figs, and
fillets of sole Belle Otero, inspired by the famous
courtesan. This is a restaurant for real food lovers
but dieters won’t need too much self-restraint.
Le Grand-Hôtel
du Cap-Ferrat has
been renovated
and extended
G R A N D - H O T E L D U
C A P - F E R R AT
In summer 2009, to celebrate its 100th anniversary,
this splendid hotel was completely renovated and
extended by designer Pierre-Yves Rochon and is
now a masterpiece of airy grace and Riviera
elegance. Visitors are instantly drawn to the Club
Dauphin, situated below the hotel on the seashore
and reached only by private funicular. It is
impossibly glamorous with an infinity pool
blending into the blue Mediterranean, poolside
loungers and cabanas for sun lovers, and an alfresco
restaurant for lunching and networking.
There’s also the new lobby restaurant, La
Veranda for all-day dining from a menu of
contemporary dishes such as Ibérico ham, risotto,
spaghetti with clams, octopus salad with green
beans and potatoes, and even burgers. But whatever
the distractions, serious gourmets make sure they
have a dinner reservation at Le Cap, the Michelinstarred restaurant close to the hotel where highly
acclaimed chef Didier Aniès creates menus of great
skill and imagination. You can eat inside or outside
on the terrace under the pine trees. It’s a magical
place, with cooking to match.
First the decor. The dining room of Le Cap is
semi-circular and the ceiling fans out like a huge
scallop shell. The rear wall is decorated with a large
mural with frisky and athletic swimmers cutting a
swathe through shoals of fish while stylised stars
and seabirds fill the sky. Though painted by Michèle
Letang, the inspiration is clearly Jean Cocteau, a
regular visitor to the Grand-Hotel. The simple lines
and subdued colours are deceiving: there is so much
verve and energy in the picture. The room is lined
with biscuit velvet banquettes complemented by
pale blue upholstered armchairs. Art deco ironwork
doors lead to the terrace and the room is dotted
with skinny Giacometti-style bronzes. Tables carry
pretty pots of flowers and mythical figures decorate
the china: Poseidon, god of the sea; Aeolus, the
winds; Venus, love; and Helios, the sun.
The cooking is of real delicacy and finesse. As
an amuse bouche, there are luscious ceps with
tomato, olive, pak choi for brilliant green colour
and Parmesan flakes. Foie gras is served with
rhubarb, black radish and a divine sauce;
sweetbreads with wild asparagus (like samphire),
truffles and a delicate purée of red apples. Mouthwatering desserts are courtesy of renowned pastry
chef Luc Debove, who delights in surprise and
theatre. A lemon soufflé is turned upside down to
Right: bite-size
lamb meatball
sliders. Below:
Locanda Verde’s chef
Andrew Carmellini
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From Mirazur you
The wall
of exclusive
can enjoy
at Café
in Paris
reveal a base of red fruits and then a jug of vodka and lemon juice is
poured over the top and set on fire by a nimble waiter. This is service
at its most balletic.
There’s more amazement from the wine list with the best
Champagnes, including Bollinger, Deutz, Krug, Pol Roger and Cristal.
There are very fine white and red Burgundies and the greatest hits of
Bordeaux (Haut Brion, Cheval Blanc, Petrus and Lafite-Rothschild)
but also agreeable Provençal wines that won’t break the bank. You can
choose from a staggering collection of Chateau d’ Yquem dating back
to 1893 and equally fascinating, but not for sale, is a private collection
of 62 different vintages of Yquem proudly housed in the private dining
room. Well, you can always dream.
Menton is right at the end of the Côte d’Azur, nestling into the
coastline just as France merges into Italy. It’s a grand old town with
an enviable microclimate and recently it has become home to an
exceptional restaurant. The owner is Argentine-born chef Mauro
Colagreco, who came to France to learn under inspired chefs like the
late Bernard Loiseau, Alain Ducasse and Alain Passard, owner of the
three-Michelin-starred Arpège in Paris. In 2006, he opened Mirazur
in Menton.
Still in his early 30s, Colagreco’s innovative style of cooking
earned him applause immediately. Shortly after opening, influential
critic François Simon gave him a rave review, and the Gault Millau
guide dubbed him ‘revelation of the year’. In 2009, the same guide
named him Chef of the Year, the first non-French chef ever to have
been so honoured. Mirazur is now a gourmet destination and as it’s
closed in the winter months, Colagreco can guest at restaurants in
California, Buenos Aires and Japan to spread the word.
The restaurant occupies a large 1950s building over three levels
with panoramic views over the Mediterranean and across to the
historic centre of Menton. There’s a wonderful organic garden, which
supplies many of the herbs, fruit and flowers for the menu.
While his style is adventurous, Colagreco is not tempted by the
geeky science of the molecular gastronomy of El Bulli or the Fat
Duck. He concentrates on freshness, simplicity, a fine balance of
colour and the true flavour of food. He might serve sweet red prawns
with ribbons of asparagus, borage and wild garlic flowers, a ragout of
baby broad beans with nasturtium flowers, or swordfish enhanced
with an emulsion of citrus and olive oil. There may be thinly sliced
ceps with quinoa, yarrow, wild rocket and white caviar (snail eggs
mixed with a little olive oil), or pigeon with a polenta flavoured with
coffee and coconut.
Whether it’s a simple lunch, an adventurous dégustation menu or
the daily changing carte blanche menu, when the chef is at his best,
Mirazur is worth going that little bit further east along the Riviera to
find, while Menton itself is a charming town.
T h i r t y - Tw o
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No.00000 Loewe 1pp.indd 1
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South African wine has improved out of all
recognition, as rory ross discovers when he visits
the beautiful winelands of the Western Cape
T h i r t y - Fo u r
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PrivatW ine
begins as soon as Cape Town itself ends, is one of South
Africa’s hidden jewels. The area delivers awesome beauty, no
crowds, low prices and unforgettable scenery. In fact, the wine
story of the Western Cape is developing into a scintillating
blend of fairy-tale scenic splendour, upper-end tourism and
gastro-indulgence. Wine and its side-kick food have moved
from a sidebar excursion to become the centrepiece of any visit
to South Africa.
It all began post-Apartheid when local wine producers,
remembering South Africa’s viticultural roots which date from
the late 17th century, switched their allegiance from the
Pinotage grape (South Africa’s uni-grape, forlorn lovechild of
Cinsault and Pinot Noir) and began to discover more
‘interesting’ varietals – Merlot, Pinot Noir, Syrah, Semillon and
Sauvignon Blanc. Ever since, South African wines have
developed character and qualities that make the Western Cape
one of the most exciting wine producing regions today.
Blessed with excellent drainage and the ideal sunny-buttemperate climate, the Cape has a terroir for every varietal. The
most successful reds unite the Cabernet cousins: Sauvignon and
Franc, with added Merlot for light relief, to produce powerful
wines that wrap dark berry flavours with notes of coffee and
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chocolate. Pinot Noir is proving a revelation in new vineyards
near Walker Bay. Rhône varieties, Grenache and Viognier, are
shaping up well too. South Africa’s most ubiquitous planted
grape, Chenin Blanc, is among the country’s most versatile
varieties; meanwhile the global thirst for Sauvignon Blanc is
being slaked by some crisp, clean, fresh wines. There are some
very fine Semillons and even one or two Italians that show
promise. Chardonnay is in its element here and sometimes
produces wonderful results. Football fans travelling to the
World Cup who want to celebrate victory or commiserate over
defeat need import no Champagne: Méthode Cap Classique,
South Africa’s méthode champenoise, hits the back of the net
every time. Of course, it is ideal for non-fans as well.
Stylistically, South African wines are pitched mid-way
between the New World and Europe: there is plenty of
up-front fruit and power if you want a quick fix, as well as
non-fruit characteristics, finesse, elegance, complexity, structure
and length for discerning palates. Perhaps the most obvious
stand-out quality is value for money, thanks to low labour costs,
minimal marketing hoopla and a subdued rand.
Among labels to juggle with are Bouchard Finlayson,
Raats, Bellingham, Uitsig, La Petite Ferme, Boekenhoutskloof,
Journey’s End and Grande Provence. Some of the most
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PrivatW ine
There is plenty of up-front fruit
and power but also finesse,
elegance,complexity and length for
discerning palates
haunting wines I tried on a recent visit are whites: Bouchard
Finlayson’s Crocodile’s Lair Chardonnay 2008, Constantia
Uitsig’s Semillon 2007, and Ataraxia Mountain Vineyards’
Sauvignon Blanc 2006.
I set off on my wine safari by waving goodbye to the
sommelier of the Cape Grace hotel in Cape Town who had
‘baptised’ me in both the mainstream of South African wines as
well its tributaries. Now, I yearned for the full immersion. So I
drove east for two hours to the village of Franschhoek. Here, I
traded the percussion of mighty Atlantic breakers for the
susurration of wind in trees. Folded among high crags, low
scented valleys, citrus orchards and vineyards, Franschhoek is a
village of radiant stucco farmhouses with swooping gables and
thatched roofs. Franschhoek means ‘French corner’ in Dutch.
When Huguenot exiles arrived here in the late 1600s, the
Dutch gave them land and tools and told them to make wine,
which was earmarked to supply the Dutch East India
Company’s thirsty mercantile fleet. More recently, Nelson
Mandela spent the last few years of his prison sentence in
Franschhoek. So when the local estate agent told me that
Franschhoek is ‘Lifestyle Change Central’, his words resonated
down the centuries.
Lately, Franschhoek has gone into gastronomic overdrive:
46 restaurants serve a population of just 3,000. Thankfully, there
is plenty of countryside in which to
t walk off the food,
fo while the
Franschhoek Health Club has one of the best gyms in South
Africa. ‘Indulge, then sort out the bulge’ sums up the South
Africans’ attitude to eating and drinking.
A characteristic of the wine scene here is fragmentation into
a plethora of tiny producers, many of whom are so small that
they have to combine wine-making with running hotels and
restaurants, often in beautiful locations. Production is often so
small and export quotas so meagre that you’d never find the best
wines at home. Located on the lower slopes of the leopardprowled Franschhoek valley, La Petite Ferme is one such place.
Mark Dendy Young, the owner/wine-maker, reserves much of
his exiguous production exclusively for customers of his
French-style restaurant, which overlooks a dramatic sweep of the
valley backed by the Simonsberg mountains.
The first wine he showed me, Blanc Fumé (2009), was
specially created to pair off with the oak-smoked trout on his
menu. Soon, the trout was struggling to live up to the wine and
had to be retired, but the Blanc Fumé lives on with notes of
green apples, pineapple and passion fruit. We then embarked
on a light and very enjoyable tasting consisting of Maison Rosé
2009 blended from Merlot and zesty Sauvignon Blanc; a
barrel-fermented Chardonnay, all apricots, ripe pears and
orange blossom, which ‘goes well with smoked warthog’;
Maison Rouge, a ‘sociable’ summer red best served chilled,
which goes well with ‘spaghetti Bolognese’ and ‘pizza on a
Sunday evening’; a 2007 Shiraz, a gutsy Rhône-style wine with
notes of roasted peppers, raspberries and plums; and finally, a
Cabernet Merlot. ‘In restaurants, pure Cabernet Sauvignon
doesn’t sell,’ says Dendy Young. ‘So we blend it with Merlot,
which goes well with game and venison.’
Previous page:
Journey’s End,
a coastal winery
with views to the
Hottentots Holland
Above: La Petite
Ferme, in the
Franschhoek Valley.
Below: some wines
from Marc Kent’s
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PrivatW ine
La Résidence, a
private hotel, once a
fruit-packing shed
Gabb, Journey’s End’s youthful owner, is a
much travelled entrepreneur. He co-owns
three esteemed restaurants in London, Quo
Vadis, Barrafina and Fino. The family comes
from the West Midlands in England. Rollo’s
father, Roger Gabb, began selling wine to
restaurants in the Shropshire town of
Ludlow in the 1980s. He went on to create
a wine distribution giant that shifted six to
seven million cases a year. During the ride,
he bought Journey’s End, a 30-hectare plot
in South Africa. ‘The mission is to create the
best wine possible,’ says Rollo Gabb.
‘Volume is unimportant.’ Chardonnay
responds particularly well to the coastal
address. Cool breezes impart fresh natural
acidity and permit a prolonged ripening for
intense fruit. Acidity and fruit combine to
produce freshness and elegance. ‘Our
Shirazes are also wonderful,’ adds Gabb.
‘They are Rhone-y in style with savoury
characteristics, leather, spice and tobacco
with an underpinning of acidity. French
sommeliers cannot get enough of them.’
Because the distances between wineries
and towns are small, you can base yourself
in one spot. The question of where to stay
is an easy one to answer. For years, Le
Quartier Français in Franschhoek was
considered South Africa’s pre-eminent
hotel. While it sets benchmarks of style
and quality, a worthy rival has opened
nearby: La Résidence is the brainchild of
Liz and Phil Biden, who own Royal
Malewane safari camp near Kruger
National Park. With help from Ralph
Krall, society hairdresser-turned-decorator,
the Bidens have transformed a former
fruit-packing shed into a sumptuous
residence fit for a king, with soaring
eight-metre ceilings. I understand that
‘busy, grand, colourful and cluttered’ is Liz
Biden’s signature ‘look’. What you find is a
Tuscan-influenced Cape Dutch
farmhouse-style interior with opulent
touches of neo-Louis XV and Orientalia. It
catches the eye in a way that Sir Elton
John (a regular client) would approve of.
The Bidens intended the property to be
their private villa, but soon began renting it
out in its entirety, and thereafter room-byroom (there are 11 guest rooms) as a
private hotel. La Résidence offers another
reason for dedicating a significant
proportion of your next visit to South
Africa to discovering the wineland area.
Cape Grace Hotel:
La Petite Ferme:
La Résidence:
Higher up the Franschhoek valley,
Boekenhoutskloof winery is one of the most
highly reputed wineries in South Africa.
Owner Marc Kent is a rare South African
wine-maker who is feted beyond the Cape,
but who is also a thoroughly down-to-earth,
no-nonsense bloke. His range specialises in
rich, ripe reds, spicy Syrah and intense
Cabernet Sauvignon. He also produces
Porcupine Ridge, a very accessible second label
which is one of the leading producers of Syrah
in South Africa. Kent believes that blends of
Cabernet Franc and Cabernet Sauvignon
are emerging as the best wines in the Cape.
Chocolate Block, his top wine, is a fabulous
and exotic blend of four grapes – Syrah,
Grenache, Cabernet Sauvignon and
Cinsault – with a splash of white Viognier,
inspired by a visit to Côtes du Rousillon where
Kent became curious about multiple blends.
If you drive from Franschhoek back
towards Cape Town but turn left at
Stellenbosch and continue for 20 kilometres,
you will arrive at Somerset West where you
will find Journey’s End, a coastal winery set
against the Hottentots Holland Mountains.
Journey’s End produces a range of elegant,
nuanced but powerful almost French-style
wines from low-yielding Chardonnay,
Merlot, Sauvignon Blanc, Semillon,
Viognier and Mourvèdre grapes. Rollo
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No.00000 Hublot 1pp.indd 1
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Pr i v a t Pe r s o n
A lot has happened since Michael Douglas f irst played
Gordon Gekko – in the movie business and in his own
family as well as on Wall Street. But, as he tells
Gabrielle Donnelly, life is good
t is a sunny afternoon in the Four Seasons Hotel Beverly
Hills – generally accepted to be the unofficial club house of
the movers and shakers of the movie business – and Michael
Douglas is musing about the movies.
‘The industry’s changed since I started out,’ he
comments, gazing thoughtfully out of the window and over the palm
trees on Doheny Drive, ‘and I’m not sure the change is for the better.
When I was growing up, the head of the studio was el jefe, you know? It
was a big thing to be the head, and he could get things done. These days,
the head of a studio is the division head of an enormous vertically
integrated company of which motion pictures is just one small division. I
never thought I’d see the day when a studio would have to perform on a
quarterly earnings basis like any other company, but it’s here now. There’s
been an amalgamation of these enormous media companies, which
means we’ve lost some independence, lost the spirit of the old individual
studios, and I think that’s kind of a pity.’
He has, of course, been around the Industry – as insiders refer to the
business of movies – for his whole life. The son of film legend Kirk
Douglas and his actress wife Diana Dill, he grew up surrounded by jefes
– studio heads, stars and directors and, as both he and his father have
acknowledged, with his mouth filled with enough silver spoons to cause
a real danger of suffocation.
‘I’ve always felt I owe my children an apology,’ Kirk once told me,
‘because they didn’t have my advantage in life, which was that I was born
in poverty and had nowhere to go but up. But if you grow up used to a
certain standard of life, then that makes it more difficult to go to work. If
I had had a father who was a movie star and there’d been enough money
for me not to work, I don’t know what I’d have done. I’d probably have
ended up as a polo player or something.’
Michael, on the other hand, was determined to work for his living as
an actor but his role model was not so much his father as Karl Malden,
his co-star in The Streets of San Francisco, the TV show that gave him his
breakthrough. ‘He was my mentor, and I was lucky to know him,’ he says
affectionately of the man with whom he remained close friends until
Malden’s death in 2009. ‘He was a working class guy from the steel mills
of Gary, Indiana, he knew how lucky he was to be in this business, and
he knew how hard you had to work to stay on top. He had a work ethic
and he had his feet on the ground. He taught me a lot.’
Which is not to say that Douglas’s relationship with his father did
not have a huge influence. He admits openly that it was not until he was
into his forties that he felt he had moved out of Kirk’s lengthy shadow.
‘If your father is as highly successful as mine was, then it can take his
son a while to find out who he really is. Look, everyone knows my dad’s
story. He even wrote a book about it, The Ragman’s Son. He was the kid
who came from nowhere, had nowhere to go but up, and ended up, literally,
going from rags to riches. But, if you have some… affluence… in your life,
as I always did, it can take you a while to come out from under that.’
It was One Flew over the Cuckoo’s Nest that put him on the
Hollywood map as himself – although its genesis involved his father. He
had been given the rights to Ken Kesey’s novel by Kirk, who had
originally wanted to star in a modest film version as RP McMurphy;
however, Michael saw bigger opportunities for the film, and by the time
that he had raised enough money to make the sort of movie he wanted
to make, Kirk was pushing 60, and Michael decided instead to cast a
younger actor with arched eyebrows and a devilish grin, Jack Nicholson.
The rest, as they say, is movie history. The film, directed by Milos
Forman, was the second movie ever (the first being It Happened One
Night in 1934) to win all five major Academy Awards. It shattered box
office records at the time, is now preserved in the National Film Library
in the United States Library of Congress, and is widely agreed to be one
of the best, and most successful, of American films ever. Michael has
admitted that Kirk was not particularly pleased at being passed over for
the leading role but quickly adds that his father has little cause for
complaint: ‘I shared part of my producing back-end with him, so he
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ended up making more money from that movie
than he had in any other picture.’
With Cuckoo’s Nest under his belt he turned
his attention back to acting. In the 1980s, he tried
his hand as an action hero in Romancing the Stone
and The Jewel of the Nile, however, he found his
forte playing the caddish anti-hero in movies like
Fatal Attraction and, of course, Wall Street, for
which he won another Oscar-Golden Globe
double whammy for Best Actor in 1987. Twenty-three years
later he is enjoying reprising the role of everyone’s favourite
corporate reptile, Gordon Gekko, in his latest film, Wall Street 2:
Money Never Sleeps.
He stops, and laughs. ‘I have a fabulous story about the
night I won the Golden Globe for Wall Street. Now, the
Globes are given out at the Beverly Hilton Hotel, and I was
staying at the Bel Air Hotel. George Harrison was also in
town, and I’d seen him and said hello at an event earlier in the
day, and then I took my mother as my date to the Golden
Globes, and I won the Globe, and then I went through all the
press stuff afterwards, and I came out and… there was nobody
there. All the people who’d come with me had gone home, and
I had nobody to celebrate with. Right. OK. I went to the bar
for a drink, and then went back to my hotel, kind of excited
but also feeling a little sorry for myself, thinking: “I’m all
dressed up, I’ve got a Golden Globe, but I’ve got nowhere to
go.” Then, about 12.30, the phone rings, and I pick it up and
say hello. “Hello, Michael? It’s George Harrison.”’ He smiles.
He has dropped into a dead-on Liverpool accent and is
enjoying himself thoroughly. ‘“Oh, hello, George,” I say. He
says: “I just got back to the hotel with me mate, and we
thought we’d come on by and say hi.” “Oh. OK. Yeah, sure,
come on down.” Wow. George Harrison. So I’m sitting there
in my room, and there’s a knock at the door… and in comes
George Harrison… followed by the biggest dog I’d ever seen in
my life… followed by George’s mate, who happened to be Bob
Dylan. I thought: “Oh, man. Thank you, God. Someone is
looking out for me tonight.”’
These days, of course, he’s in no danger of being left
without a date, on an award night or any other. Although his
first marriage, to Diandra Luker, fell apart, allegedly because of
his infidelities (and, sadly, their son, Cameron Douglas, who
has struggled with drugs, is currently in prison for dealing
them), fate has given him a second
chance. In November 2000, he
married Welsh-born actress
Catherine Zeta-Jones; 10 years
and two children (Dylan, nearly
10, and Carys, 7) later, he says that,
despite the well-publicised 25-year difference
in their ages, he has never been happier. ‘I
lucked out,’ he says simply. ‘And these days,
much as I like working, my family is my first
priority. I know that Cameron suffered
somewhat because of my professional
ambitiousness when he was small. But this
time around I have the joy of having kids later
in my life – I’ve accomplished what I want to
in my career, so I’m able to put my family first.’
He has not retired but today he can choose his projects.
‘Every so often I get a thing where half of me says: “Oh, I’ve
had it, let’s just let it go.” So I go hang out with my kids or go
play a little golf, and then… I get the itch to go back to
working again. That’s the beauty of this business, that if you
love your work you can keep on doing it forever.’
He stops again, and smiles, remembering a facet of modern
life that is unquestionably for the better. ‘And that’s a good
thing about the internet,’ he adds. ‘Which is that these days,
you can work on developing material from anywhere in the
world. That means I haven’t had to live in LA for years and
years; I can live where I like and still have meetings all the time
with these webcams and such.’
The Douglases spend their time between their four homes,
in New York, Canada, Mallorca and Bermuda. ‘Some people
spend a lot of money collecting art,’ Catherine once
commented to me. ‘We spend our money on homes with
beautiful views.’ How much time they spend where depends on
their various schedules of adults’ work and children’s school.
Nevertheless, Michael admits that he has a particularly soft
spot for Bermuda.
‘It’s very isolated, so it’s a wonderful place for the children
– no cameras, no paparazzi, nothing,’ he says. ‘Plus, we have a
lot of family there. My mother’s from there, and I’ve been
going there since I was a child. We have a long history with
the place, in fact – my relatives first arrived there in 1590, so
when I go to the cemetery there I can see family graves dating
right back to the 1600s. That’s an amazing thing for me,
having been such a gypsy for most of my life. It gives me a
real sense of place, of family history, and as I grow older, I
realise how important that is.’
He leans forward, confidentially. ‘I like to do meetings
when people are on camera,’ he confesses, ‘because it forces
everyone to sit up a little
straighter and feel they’ve got to
be more together.’ Perhaps, in
spite of what he says, some of the
spirit of the old studio heads lives
on in Michael Douglas himself.
‘That’s the beauty of this
business: you can keep on
doing it forever’
Pr i v a t Pe r s o n
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No.57425 LondonTown Cars 1pp.indd 1
08/06/2010 12:30
H E AV E N ’ S D O O R
The most elegant and exclusive resort on
Belgium’s North Sea coast just keeps getting
better, as clive aslet discovers
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here do the richest families in
Belgium, as well as some from
Holland, spend their summer (or
that part of it which does not take
them to St Tropez)? The answer may
surprise people who are not familiar
with the watering-holes of Northern Europe: Knokke-leZoute. Half a century ago, it was famous. All Europe and the
better parts of America had heard of Knokke. Frank Sinatra
sang here; old photographs show Marlene Dietrich in a white
trouser suit, on the arm of the pianist and arranger Burt
Bacharach, and even Maurice Chevalier. Although the
celebrities have kept coming, the profile of the place is now
more discreet. That seems to suit Knokke-le-Zoute’s summer
colony very well; their mansions, scattered among shady woods
or, better still, overlooking the exclusive fairways of the Royal
Zoute Golf Club, are remarkable for their restraint. Yet the
man in the orange trousers pulling a golf cart might very well
be a billionaire; houses change hands for up to €12m.
This is a well-tempered environment: beautifully manicured
and so carefully maintained that, incredibly, new and renovated
dwellings often look more authentic than their predecessors.
There is none of the brash, modernist attention-seeking that
characterises the UK’s most expensive stretch of seaside,
Sandbanks in Dorset. White walls and black shutters, neatly
clipped hedges, pointed gables and, in many cases, steep-sided,
orangey-red pantiled roofs – those are the dominant
impressions. The other roofing material is thatch. This must be
the one corner in Europe where a thatched roof – expensive to
maintain, difficult to insure – adds so much to the value of a
property that some houses are being retrofitted, while for
new-builds thatch is practically de rigueur. There is also a
flavour of half-timber, reminiscent of the Normandy resort of
Deauville, only in a smarter state of repair.
The style was set after 1908, when the Lippens family
looked at a stretch of sand dunes and poor farmland next to
the Dutch border, which they owned, and formed the
Compagnie du Zoute to develop it. For a masterplan, they
turned to the German urbanist Hermann Joseph Stübben,
who believed in uniting man and nature. Buildings set in leafy
drives would respect the local vernacular, with old windmills
being incorporated where they were found, while many of the
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No.58926 Sahara Hospitality 1pp.indd 1
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Neatly clipped hedges,
pointed gables and steepsided orangey-red pantiled
roofs are the dominant
Above: the
appointed golf club.
Right: take a
bicycle ride round
roads are paved with brick or cobble. The Compagnie du
Zoute is still owned by the Lippens family, presided over by
Maurice Lippens, whose brother Leopold is both Knokke’s
mayor and president of that cardinal and magnificently
appointed facility, the golf club. Its influence ensures that
standards never fall. Although thirsty cars are commonplace
– Masseratis, Bentleys: they’re nothing to stare at here – only
one filling station has been allowed, its pumps shrinking back
from a street whose shopkeepers (Louis Vuitton, Rolex and
Ralph Lauren, among others) offer would-be customers
glasses of Champagne in season.
What are the attractions of Knokke? The sea, of course. The
broad white sands stretch from Knokke-le-Zoute to Knokke
itself, and on past the lesser dependencies of Duinbergen and
Heist which form part of the Knokke municipality… it is
impossible to see where the sands end, not least because the
beach is crowded with jaunty beach huts, striped deckchairs
and sailing clubs, catamarans drawn up while they await the
next dip in the water. All along the front, waiters from the
smart bars and cafés (this is not moules et frites territory) hurry
to beachside tables with their trays, dodging roller-bladers and
family-size, pedal-powered velocipedes as they go. The scene is
as bustling as anywhere on the Mediterranean, but with waffles
and dark beer. But if it doesn’t capture your attention, there is
tennis, with more than 30 courts available from perhaps the
best-appointed amateur tennis club in Europe. The club house
is one of those steep-roofed, pantile-covered buildings that is a
joy to look on.
Take a bicycle, and within a couple of minutes you are
coasting through the flat farmland that, from 1784, the
engineer Philippe-Francois Lippens won from the sea.
Brindled cattle graze watery pastures, edged with stumps of
pollard willow trees – it could be a painting by Aelbert Cuyp.
The path takes you along the top of dykes, through horse
country (riding is big here), to the Zwin, a nature reserve
crowded with great white umbrellas, which on closer inspection
are revealed to be storks. The 5km2 of the Zwin wetlands (a lake
in winter, a salt marsh in summer) is about to be increased by
breaking down some dykes and allowing the sea to reclaim its
own. In August and September, the Zwin turns mauve with
flowering sea lavender, forming a natural habitat for walkers
and cyclists. By the time you come to the pretty village of
Retranchement, next to the Zwin, you are in Holland, though
you might not notice. If you prefer a denser urban experience,
20 minutes in the car takes you to the wonder that is Bruges, a
canal city greatly blessed with art and restaurants; it’s a little
further to the scarcely less appealing, though rather less visited,
city of Ghent.
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It was none of these things, however, that brought the likes
of Old Blue Eyes to Knokke, but the casino. That this was, in
its day, a setting of distinction as well as glamour, can be seen
from the dining rooms, decorated by the greatest Belgian
artists of the 20th century, Magritte and Delvaux. Today the
casino is owned by the sons of the builder, Roger and Jacques
Nellens, and managed by the Partouche Group. The Nellens
brothers have continued to support artists such as Keith
Haring, while Roger is famous (in Knokke at least) for
commissioning the artist Niki de Saint Phalle to create a
dragon house-cum-sculpture in the grounds of his home.
Now that the casino has become tired, it is no surprise that it
will be replaced by a yacht-inspired structure that promises to
be an icon of modern architecture. In Knokke you would
expect nothing less.
In 1924 Joseph Nellens created a six-hectare lake, opposite
the casino, with a hotel on its shore. He is said to have enjoyed
entertaining his distinguished and often famous friends there in
the south-facing Pavillion du Lac. The hotel was rebuilt after
World War II, and that replacement has now given way to La
Reserve, a complex, still under construction, that will provide
150 apartments of a luxury little known even in Knokke. The
centrepiece of the development is a five-star hotel, whose
facilities, including wellness centre, room service and housekeeping, will be shared with residents. The theme will be picture
windows and broad, wrap-around terraces, opening the interior
to the views either towards the sea or across the lake to Knokke’s
cultural centre and new golf club, and allowing residents to enjoy
the sunshine and drinks at any time of day.
With prices ranging from €920,000 to €2.9m, they are,
according to Patricia Geerebaert-Lemaitre and Stefaan
Geerebaert, partners in Knokke-le-Zoute’s leading real-estate
company, the well-connected Immo Brown, ‘certain to go up
in value, if only because of the works now being undertaken at
Knokke, in particular the sensational plans for the casino and
a second golf club’. The first phase sold out soon after going
on the market.
A look at the skyline shows that Knokke is always
building: the constant improvements serve as a guarantee that
the money invested here will be secure. What is remarkable
about this resort, in comparison to so many other places across
Europe, is that development does not detract from the charm
and character of the place. On the contrary, Knokke seems to
be getting better and better. In fact it’s a Knokke-out.
Left: a typical
thatched villa.
Below: Maurice
Chevalier was
among many stars
who loved Knokke
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launched a highly exclusive instrument set to establish itself
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No.00000 Breitling 1pp.indd 1
17/06/2010 13:05
P r i v a t Tr a v e l
The long-awaited opening of
Verdura provides the island with
a resort spa, not to mention a golf
course. max davidson explores
Ask Sir Rocco Forte what has been the biggest obstacle to his
latest project, the Verdura Golf & Spa Resort, and he will give
you a simple two-word answer: ‘Sicilian bureacracy.’ The luxury
resort has been more than seven years in the planning and, at
times, progress ground to a complete halt as Sir Rocco battled
red tape and political backsliding. ‘The Sicilian Green Party has
been particularly hostile to the development,’ he explains, with
a sigh. ‘They were afraid that Verdura would become the
catalyst for golf courses all over the island.’
Achieving planning permission has been problematic at
every stage. ‘At one point, we had completed 16 holes of one
course, and they tried to stop the last two holes being built. I
just couldn’t get them to see that a 16-hole golf course was a
nonsense.’ The whole notion of having a golf course running
alongside the sea was alien to the Sicilian way of thinking. For
the golfing romantic, links golf is the oldest, purest form of the
game. But Sicilian planning laws specifically banned the building
of golf courses within 150m of the sea. Amending legislation had
to be got through the Palermo parliament before Verdura could
go ahead – just one of dozens of glitches on what has been a
bumpy journey. But here, finally, it is: an ultra-luxurious golf
resort without real parallel in the Mediterranean.
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A view over the
golf course at the
new Verdura
resort in Sicily
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P r i v a t Tr a v e l
In America or the Caribbean, there would be nothing
unusual about an exclusive resort incorporating two
championship golf courses, a nine-hole course and a luxury spa.
But this is Sicily, still one of the poorest regions of the European
Union. As you drive to Verdura from Palermo airport, you pass
though a landscape that has hardly changed in centuries. Craggy
mountains overlook scruffy-looking vineyards. A few scrawny
cows cling to the bare hillside. Shepherds guide their flocks
through the olive groves, bringing up clouds of dust that linger in
the parched air. There is a blur of oleander, then a sudden splurge
of colour where one of the smallholders has planted orange trees.
The road itself is excellent, but many of the remoter houses are
completely dilapidated – a reminder of the earthquake that
devastated western Sicily in 1968. As you head further south, and
the sun shines that little bit more fiercely, and the olive groves
start to be punctuated by stumpy little palm trees, you realise you
are closer to Africa than Rome.
Sir Rocco first fell under the spell of Sicily when he was a
boy, sailing into Taormina on his father’s yacht, and for all the
obstacles he has had to overcome, is clearly thrilled to have
achieved an ambition he has nursed for years: to complement
the city-centre hotels of the Rocco Forte Collection with a
seaside golf resort. Architecturally, Verdura is subdued rather
than ostentatious, with one- and two-storey buildings dotted
discreetly across the 230-hectare estate, which hugs the
coastline of southern Sicily, fringed by mountains. Olga Polizzi,
Sir Rocco’s designer sister, has given Sicilian simplicity a
contemporary edge, and the 203 rooms and suites combine
perfect privacy with understated elegance.
Golfers, naturally, will be in their element, playing two
stunning links courses prepared by Kyle Phillips, who also
designed the Kingsbarns course near St Andrews. To lose your
ball in a thicket of Mediterranean wild flowers, rather than the
customary Scottish heather, almost feels like a privilege. But their
non-golf-playing partners will not be short of stimulus. ‘The old
stereotype of the husband playing golf while the wife relaxes in
the spa may be a cliche, but it is a cliche that represents the
reality,’ says Sir Rocco. ‘I know a few men who play golf with
their wives, but there are plenty more who play to get away from
their wives!’ When the golfing husbands and spa-pampered
wives are reunited at the end of their day, they will not only be
able to watch the sun setting over the Mediterranean, daubing
the western sky with a brilliant, fugitive beauty, but eat
sumptuous Italian food in congenial surroundings.
There are four different restaurants dotted around the
resort, offering fine dining, dainty snacks or a simple pizza on
the beach. Superlative Sicilian wines can be taken for granted.
Legendary Michelin-starred chef Fulvio Pierangelini, whose
seaside restaurant Il Gambero Rosso in San Vicenzo became a
place of pilgrimage for foodies, has just been appointed culinary
consultant at Verdura, guaranteeing imaginative, locally sourced
dishes. His signature dish is passatina di ceci e gamberi, puree of
chickpeas with shrimp, but he is no slouch with meat and
desserts, and his occasional masterclasses at the resort are not
to be missed. Pierangelini is a great bear of a man who, unlike
some celebrity chefs, could not be pretentious if he tried. As
guests gather in his kitchen, skinning tomatoes, peeling
shrimps, filleting fish, extracting the zest of lemons and oranges
– all the nuts and bolts of haute cuisine – the atmosphere is
wonderfully convivial. Gastronomic riches await, but everything
Opposite: the Doric
temple of Concordia
at Agrigento.
styling at Verdura,
where low
buildings are dotted
across the estate
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P r i v a t Tr a v e l
The exquisite
mosaics in the
church of Santa
Maria dell’
seems so simple: quotidian pleasures shared
with family and friends. ‘Sicilians like to do
this,’ says Pierangelini, ripping open an
orange with his bare hands, then thrusting
his nose deep into the innards to enjoy the
intense sweetness of the smell. Suddenly you
can sense the reverence for the fruits of the
soil that should be at the heart of
gastronomy. Any fish you eat at Verdura will
have been caught that morning; in fact, you
can see the little fishing boats chugging out
of the neighbouring port of Sciacca in the
early morning, nets draped over the side,
while the golfers are still on the practice
range. Sciacca itself is a little gem: a
centuries-old fishing village that has grown
up higgledy-piggledy around the small
harbour. In the late afternoon, the sun falls
on crumbling churches and there is the
scent of sea-salt and ripe tomatoes. Try
bustling San Paulo for a dinner of fresh fish.
Some visitors to Verdura will confine
themselves mainly to the resort or, if they
stray outside, get no further than Sciacca;
but it would be a shame not to explore the
Sicilian hinterland, a region rich in culture
and history. Just an hour to the east is the
UNESCO world heritage site of Agrigento,
a Greek settlement dating back to the fifth
century BC. The best preserved of the
original Doric temples is the Temple of
Concordia, perched on top of a small hill,
with the sea dancing in the distance. It is
like a peaceful miniature version of the
Acropolis in Athens. In fact, the whole
Agrigento site is wonderfully restful, with
wild flowers bursting through the old paving
stones, olive trees cheek by jowl with
pediments bearing Greek inscriptions, and
seagulls wheeling overhead.
Palermo itself, the Sicilian capital, is also
well worth a visit. To anyone used to Milan
or Rome, it will seem quite shabby at first
blush. Beggars loiter outside the churches
and, bang opposite the cathedral, you will see
washing hung out to dry from the upper
windows of the old tenements. But the
shabbiness is all part of its charm. For lovers
of history and architecture, there is a clutch
of magnificent buildings crammed into the
city centre. Pride of place goes to the old
royal palace, now the seat of government,
where the Norman-Arabic Palatine Chapel
has been restored to its former glory, with
every fresco glowing with colour, as if freshly
made. But the Byzantine mosaics of the
church of Santa Maria dell’ Ammiraglio are
almost as exquisite, if not more so: a reminder
that Sicily has been attracting cultured
visitors for thousands of years. There are
some great restaurants in Palermo, too, if you
know where to look. At the Trattoria Il
Maestro del Brodo, a small family-run
establishment beside the market, I had one of
the best lunches I have had in years: a
majestic selection of antipasti, followed by
linguini with clams, washed down with a
thrillingly crisp Pinot Grigio. Probably not
the ideal preparation for my afternoon round
of golf back at the resort, but with food of
this calibre, who cares? How quickly Verdura
will establish itself as a must-visit destination
resort is in the lap of the gods. Sicily is still
off the beaten track. But with luxurious
modern facilities embedded in a beautiful,
history-rich landscape, attractive in all seasons,
all the ingredients are now in place.
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No.54265 Immo Brown La Reserve 1pp.indd 1
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Green and blue
Playing golf by the sea all summer is
adam ruck’s idea of bliss. He nominates
his favourite European courses
natural place to play it. This is where golf evolved, on undulating
common land close-cropped and fertilised by grazing animals, full of
humps and hollows that bring an element of surprise to the game.
Where sheep scraped out shelter from the wind, and rabbit warrens
collapsed, early golfers found their ball trapped in a fiendish sandpit.
What fun! The springy seaside turf is a joy to walk, cries out for a ball to
be hit cleanly off it without an ugly divot, and drains so well there is no
need for that aberration, the temporary winter green. The wind ebbs and
flows with the tide or according to its own whim, and forms, as golfers
say, an integral part of the course.
Beside the sea, there is far more to enjoy in a round than simply the
golf. At the club where I play, a friend marks two scores on his card: one
for shots, the other for orchids. Later in the summer there are butterflies
and wild mushrooms as a consolation for our excursions into the rough,
and in winter a flock of sheep keeps us company. At any time of year, if
the putts are not dropping, my dog and I can stroll down to the water,
roll up our trousers and let the waves wash over our tired paws. On a
really bad day I might think about chucking the bag in, but there are six
holes left to play, and at the end of the day the golfing gods usually throw
us a crumb. But let’s not succumb to tiresome links golf snobbery. Many
of the courses listed here are not true links. They are a personal selection
of great courses, in beautiful places, beside the sea.
Brancaster (Royal West Norfolk), near Hunstanton, Norfolk
‘It’s not that we’re old fashioned here,’ the secretary of Royal West Norfolk
explains: the layout of his course simply rules out four-ball golf, if members
and their hounds are to complete their round in three hours, as they like to
do. For several hours a day the only way to reach this wonderfully isolated
but achingly fashionable corner of the North Norfolk coast is on raised
wooden pavements beside the approach road, and playing the eighth and
ninth holes at high tide, when much of the marshy inlet is flooded, is a
connoisseur’s treat. The course is not long, but with sleepered bunkers and
raised greens it requires a deft touch. The clubhouse is a gem, its piano
nobile veranda a royal box for golfing spectators and bird watchers.
h i rf t y - SFioxu r
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Aberdovey in
Wales, perhaps the
most beautifully
course in the world
The green fee encourages us to play 36 holes of alternate-shot foursomes
rather than 18 of singles. Try it, for a change. Stay at Congham Hall.,
the 12th green, a superb belvedere rewarding one of the toughest shots
on the course, on a windy day. Stay in country house splendour (by
appointment to Queen Victoria) at Ynyshir Hall, near Machynlleth.,
‘About this one course in the world,’ wrote Bernard Darwin, the doyen of
golf writers, ‘I am a hopeless and shameful sentimentalist and I glory in
my shame.’ Darwin swung a club on the sandy Welsh coast as a boy and
remained loyal to Aberdovey all his life, travelling by train to the
clubhouse gate, as we can to this day. As a result it may be the most
beautifully written-about course in the world. Any ‘improvement’ was an
excuse for a nostalgic essay, but golf and traditional family holidays by
the sea have changed less at Aberdovey than in most other places. The
course follows the shore around the jaw of the Dovey estuary in a classic
‘out and back’ layout set snugly between one of Britain’s loveliest coastal
railways and a line of sandhills that shelter the golfer but, crucially, not
his ball. The dunes permit only occasional sea views, but all is revealed on
Doonbeg, County Clare
Greg Norman was a golfer who loved a swash and buckle and at Doonbeg
he has created a course in his own image, a 21st-century masterpiece on a
magnificent sweep of Ireland’s west coast, lashed by wind and waves. The
excitement starts on the first tee and does not let up until the last green,
after a horribly tight drive. Golfers have been known to applaud on
cresting the fifth fairway, which in a fine coup de théâtre takes us over a
ridge to confront the ocean; but may feel the bunker in the middle of the
12th green suggests a warped sense of humour. Like the course, the
neo-baronial clubhouse/hotel is built on the grand scale and could be
centuries old, and, being Irish, they will have you know it’s a buyer’s market
for apartments and homes on the gated estate.
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golf on the Med at
Finca Cortesin
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Turnberry (Ailsa Course)
The 13th hole
at Sperone in
Corsica has to be
one of Europe’s
most stunning.
Below: in the
footsteps of
champions at St
Royal Portrush (Dunluce Links)
The setting of the only Irish course to have hosted the Open
Championship is a glorious stretch of the Antrim coast
embellished with nearby islands and the rocky landmark
known as the Giant’s Causeway. Ulstermen Darren Clarke and
Graeme Macdowell rate Portrush above all others, and Harry
Colt considered it his masterpiece. Colt is the purist’s course
architect, a master of understatement, and the nature of the
challenge here is simply stated: narrow fairways, rough that
lives up to its name, and small greens relying on their subtle
contours rather than fearsome bunkers to confound us. The
course twists and turns, offering few straight holes and no easy
ones. The best viewpoint is the elevated fifth green, high above
White Rocks beach, and the worst is the 14th tee, which is
separated from the green by a 200-yard chasm. The hole’s name
is Calamity. Purgatory comes next. Stay at the Bushmills Inn.,
On a fine day, which is not to be taken for granted on
Scotland’s west coast, Turnberry really is the dream ticket:
a world-class hotel whose residents enjoy privileged access to
one of the world’s greatest golf courses, and a sunset coastal
view to cry for. Brave hearts will march back to the
Championship tee at the ninth and roll up their sleeves for a
big hit over the rocks alongside the ruins of Turnberry Castle
where Robert the Bruce was born in 1274; and hold their
breath until they have avoided the burn in front of the 16th
green. On a bad day we must go out and brave the elements,
just imagining the view of Ailsa Craig floating like a Monet
haystack against the hills of Arran and the Mull of Kintyre;
and look forward to a session in Turnberry’s spa, a most
welcome haven.
Sperone, Bonifacio (Corsica)
At the southern extremity of France, looking across the
Strait of Bonifacio at the dark hills of Sardinia, Sperone is
not a course without flaws. But the setting is so magnificent,
and the sea holes (11 to 16, with an interruption for a sandy
beach) are so exciting, we will forgive any imperfections. Not
only that, the estate’s collection of strikingly beautiful red
cedar villas are a match for the best in the Mediterranean.
Sperone describes itself as a golfing and architectural
benchmark, and so it is. Go there, and you will want to buy.
Finca Cortesin, Estepona, Costa del Sol
If you have not been to the Costa del Sol for a few years,
prepare for a surprise. At the wave of a magic wand, an
exquisite resort has blossomed on a scrubby hillside behind
Estepona, with flawless lawns and scented rose gardens,
St Andrews (Old Course)
Knock a ball down the fairways of golfing history in the
footsteps of champions, from Old Tom Morris to Tiger
Woods. With its immense shared greens, hidden pot bunkers
and canny members who play down the wrong fairway, the
Old Course is like no other, and does not lack critics –
especially those who refuse to take a caddy and fall foul of
Hell, the Road Bunker and other infamous traps. The New
Course is tighter and tougher, they say, Kingsbarns more
contemporary. Play them too, in the home of golf. Stay at
the Old Course Hotel.,
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The springy seaside turf
cries out for a ball to be
hit cleanly off it
Left: sun, swing
and sea in
Spain at Finca
Cortesin on the
Costa del Sol.
Below: Sardinia’s
scenic Pevero is
a glorious course
with worldbeating views
a supremely stylish hotel, and 7,500 yards of fully fledged
championship golf. We are familiar with infinity pools. This is
an infinity resort, tucked into a fold in the hills so cleverly that
its terraces and greens look straight out to sea – and Africa, on
a clear day – without a glimpse of urban sprawl. The broad
fairways are always inviting, and everything about the estate
– golf course, hotel and villa development – is wonderfully
spacious. Of many stirring challenges, the 15th-tee shot is the
most formidable. For most mortals the back tee is a sightseeing
excursion, not a serious proposition.
Pevero (Costa Smeralda, Sardinia)
Pevero is an unsung ingredient of the stylish all-round leisure
recipe conceived by the Aga Khan for a rocky corner of
Sardinia’s northern coast, primarily for people with yachts. Half
a century on, the Costa Smeralda remains among the
Mediterranean’s most fashionable playgrounds. The terrain is
less obviously suited to golf, but in a hostile context of granite
outcrops and prickly maquis, Robert Trent Jones built a
splendid course that almost rivals nearby Sperone for scenery
and offers strong players a more coherent and challenging
round. The wind swirls, there are gorgeous views over yachtspangled bays, and golfers who value their limbs do not spend
too much time looking for balls in the lacerating rough. Stay at
Hotel Cala di Volpe, or on a boat.,
San Domenico, Savelletri (Puglia)
From the seclusion of the Masseria San Domenico, one of the
most beautiful hotels in southern Italy, borrow a bicycle and
pedal half a mile along the shore to the golf course. This is flat,
open and exposed to all the winds in the best links tradition,
and sets out its stall at the very beginning, where the only lake
on the course waits to swallow a weak first shot. Members are
few, and there is no need to hurry. On a hot day, pause for a
spremuta in the shade of the clubhouse after the front nine, and
after holing out at the 14th wander over to the beach, where
local fishermen might be grilling some tasty morsels. Golf may
not be sweet, but life is. North Italian golfers fly south for
warm winter golf at San Domenico. It is absolutely fit for
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No.58329 Connoisseurs Scotland 1pp.indd 1
10/06/2010 16:03
Bahamian rhapsody
Relaxed elegance meets high style to create perfect
harmony on stunning Paradise Island
White ruffled top, metallic round
shorts and shoes by
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Pr ivatFashion
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Pr ivatFashion
Above le: white halter-neck dress by karllagerfeld﹔drop earrings by vancleefandarpels
Above right: safari dress by chrisbenz﹔shoes by brianatwood﹔ring by vancleefandarpels
Opposite page: black coon wrap dress and green swimsuit by eres﹔sunglasses by tomford
S i x t y - Fo u r
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Pr ivatFashion
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10/06/2010 14:13
Pr ivatFashion
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10/06/2010 14:13
Le: white shirt and ecru pencil skirt by maxmara﹔shoes by sigersonmorrison﹔necklace by pamelalove
Above: printed top and skirt by oscardelarenta﹔shoes by brianatwood﹔bracelet by mcl
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Pr ivatFashion
Mike Rosenthal
Liz McClean @ michele filomeno
Miranda Bennett
Jordan Long
Yasmin @ img models
Jonny Clark
Shot on location at the exclusive and luxurious One & Only Ocean
Club, Paradise Island in Nassau, Bahamas, famous for its pristine
white sands and clear turquoise sea;
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Black playsuit and white blazer with back trim by hermès﹔shoes by brianatwood
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wise from top left: crab brooch with rare gold South Sea pearl from Australian
jeweller Autore;
diamond seahorse earrings at Chopard; aquamarine necklace by Sicilian
mith Massimo Izzo from his Sea Jewels collection; pavé diamond starfish clinging
to sin
ingle Tahitian black pearls at Mikimoto; a flying fish reflects the colours of the Great
Barrier reef at Autore; matt shell brooch and hermit crab earrings by Massimo Izzo;
gem-encrusted seahorse by London goldsmith Elizabeth Gage; seaweed fronds from the
L’Atlantide collection at Van Cleef & Arpels
The undersea world inspires jewellers to use pearls,
ld and gems to sculpt fantastic creatures of the deep,
says vivienne becker
The drama of the ocean and the
seascape, from the seashore to the
depths of the underwater world,
has inspired some captivating and
creative jewellery collections.
Sun-baked sand and shells are
captured in rich textured gold;
pearls, the gem of the ocean,
especially the huge and lustrous
South Sea Pearls, conjure up
floating visions of aquatic beauty;
and rich gemstones paint
fantastical sea creatures, their
three-dimensional shapes and
forms undulating with the
rhythms of the ocean – swirling
jelly fish tentacles, rippling
ribbons of seaweed or clustered
curls of coral.
It is the elemental quality of
ocean life that appeals, a certain
mysterious, otherworldly or
surreal strangeness, prehistoric yet
somehow sci-fi, that allows scope
for compelling jewelled fantasy. It
is a theme that entranced iconic
20th-century designers like Jean
Schlumberger of Tiffany, whose
passion for the sea bred wriggling,
opulent gem-set starfish,
curvaceous shells and sea urchins.
And now, the sea flows
through the work of individual
goldsmiths like Elizabeth Gage,
always inspired by nature, who
creates rich, wrinkled golden
shells and whimsical seahorses of
coloured gems tipped with pearls.
The infinite wonders of the
sea have also inspired
international jewellers like Van
Cleef & Arpels whose L’Atlantide
collection recreates the lost city of
Atlantis, and Chopard whose
150th anniversary animal-themed
high jewellery collection included
a dramatic Clown Fish waistlength breastplate and diamond
seahorse earrings dripping with
streams of ocean drops.
Autore, the Australian pearl
specialists, have built a sumptuous
collection, Oceania, around the
majestic wonders of the Great
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Left: the waist-length
Clown Fish breastplate
from Chopard.
Right: a curious
crustacean bracelet from
Stephen Webster’s In
Deep collection.
Far right: crab ring, also
by Stephen Webster.
Bottom right: diamond
seaweed and pearl ring
at Van Cleef & Arpels
Barrier Reef. Each of the one-of-a
kind complex jewels, seahorses,
flying fish, octopus, seashells,
starfish – all transformed into
brooches, rings, pendants and a
wide openwork coral-inspired
bangle and ring, in a gem palette
that reflects the intense colours of
the reef – is set with a magnificent
South Sea pearl, white, black or
rare gold, from the private
collection of Rosario Autore, CEO
and founder of Autore. The jewels
quiver with life through the use of
en tremblant settings, mounted so
that they move with each
movement of the wearer. The story
behind each masterwork is vital,
says creative director Alessio
Boschi. ‘You shouldn’t see a piece of
jewellery and immediately
understand everything,’ he explains.
‘It should be a discovery, a journey
within a journey.’
Mikimoto, the Japanese pearl
kings and inventors of the cultured
pearl, also ride the crest of the
ocean wave, paying homage to the
watery origins of the pearl through
sea-inspired designs. The
contemporary Starfish collection,
part of the Mikimoto Milano
group designed by Giovanna
Broggian, features a voluptuous
pavé diamond starfish clinging to a
single Tahitian black pearl, and
new this season in the Milano line
is a Water Lily design. While one
S e v e n t y - Tw o
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of the four spectacularly important
and unique Mikimoto high
jewellery creations launched this
spring, at the Baselworld Fair, was
a composition entitled Flowing
Tide, a necklace designed as a sea
tide of diamonds and pearls,
glistening with the play of light on
water, capturing the ebb and flow
of the tide governed by the Moon,
long associated with the pearl.
From the richly layered collar of
diamonds and pearls, looking like
the bubbling foam of surf, hangs a
long graduated fringe of 240
superb Akoya pearls, moving as
freely as waves.
The ocean also beckoned
designer-jeweller Stephen Webster
whose two major collections,
Jewels Verne and its extension,
In Deep, launched this spring,
dredged the sea bed for
inspiration. ‘It’s a personal thing; I
spent my childhood going into
rock pools, finding things like sea
urchins. I still do that and I love to
be by the sea, I love the light, the
way the view changes every day.’
Jewels Verne was sparked by the
author’s famous novel 20,000
Leagues Under the Sea. The jewels,
like the best-selling Hermit Crab
cocktail ring, intricately detailed
and using strong contrasts of
colours and materials – onyx and
rose gold, blackened gold and lapis
lazuli – depict the weirdly
fascinating creatures encountered
on the epic journey. In Deep takes
a more subliminal and stylised
approach, says Webster, so that the
curious crustaceans or fanciful fish
are not always apparent at first, but
are subtly hidden in the overall
design. Webster’s favourite
stingray silhouette and black
diamonds bring his signature
glam-rock edge to the jewels that
explore yet more detail, sensual
and striking stone and colour
In his workshop in Ortygia,
Sicily, the goldsmith Massimo
Izzo is preoccupied with the sea
surrounding the ancient island; it’s
his favourite theme. He sculpts
monumental one-of-a-kind jewels
of different shades of gold, alloys
he creates himself, set with huge,
often rough uncut gemstones, and
pink and rich sealing-wax red
Sardinian coral, sea-green
tourmalines, precious jades,
turquoises and diamonds.
His first Sea Jewels collection,
free-form and floating in style,
massive in volume and presence,
was inspired by his personal
passion for the underwater world,
featuring seahorses and shells,
stones smothered by undulating
seaweed, matt gold and textured
sea urchins and star fish, an
octopus bulging with a huge white
pearl, a necklace of aquamarine
chunks clasped by a chaotic mass
of sea creatures and plants, the
entire collection alive with the
continual, swaying movement of
the ocean and the abundance of
sea life. Sea Jewels is, he says, an
‘open collection’, to which he
continually adds new pieces,
reflecting his ever-evolving passion
for the water. Like the iconic
20th-century Sicilian jeweller
Fulco di Verdura, who used natural
seashells encrusted with gems, he
is the latest but not last in a long
line of designers and goldsmiths
making waves in fine jewellery.
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No.00000 Albaba Sweets 1pp.indd 1
17/06/2010 09:44
Ever since I was five years old in
Bombay! (We still say Bombay.)
I’d watch films, mostly Hindi
films, and then afterwards, I’d take
my mum’s dupatta or a bed sheet,
pull it over my head, and stand in
front of the mirror, hold a comb in
my hand like it was a mic, and
perform scenes that I’d seen on
television. I’d do it all the time. My
mum thought I was nuts! I was
too young to know that that was
what I wanted to do with my life
– I was just doing it because I was
interested in it – but my mum
kind of knew even back then that I
was going to be a performer... and
here I am.
Very stable and happy, just really
normal, actually. I’m from a
middle-class family living in the
suburbs of Bombay. My mum and
dad are very happily married.
Dad’s a banker and Mum’s the
principal of a school, and I have an
elder sister who is my rock and has
always been really supportive of
me. We’re Mangalorean. I went to
a Catholic convent school, and
when I wasn’t at school, I’d go out
and play as normal kids do. It was
all so normal – I don’t know what
else to say!
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Well, it was a challenge at first because the
obvious way in was through Bollywood, but
that’s a very closed and tight world and you
really need someone in your family to be in
it to give you a push, and that wasn’t
working for me. So I decided to try
modelling. I joined the Elite model agency
in India and I was with them for two-anda-half years and did a lot of assignments
with them; then I got a job as a presenter
for a travel TV show, and I travelled all over
South-East Asia, which was a lot of fun.
And then just when the show was wrapping
up, and I was thinking: Oh, dear, I won’t
have anything fun to do now, Slumdog
‘I don’t want to be “the Indian Girl”
for the rest of my life’
It doesn’t get any better, right? I really feel
like Cinderella these days. And I have a
lot more confidence than I used to. The
fact that Danny had enough faith in me
to cast me in his movie and that the
movie was such a success has given me a
sense of self that I didn’t have before. It’s
really changed my life.
I’m in the new Woody Allen film, You Will
Meet a Tall Dark Stranger, which is like a
dream come true for me. I’ve also done
another film directed by Julian Schnabel
called Miral, in which I play a Palestinian
girl, which meant I had to pick up a whole
new accent and a whole new culture, which
was a lot of fun. I didn’t realise until now
how much I love doing different accents!
I’m proud of being Indian, but I don’t just
want to be “the Indian Girl” for the rest of
my life – that’s just boring.
Not yet. And I don’t really want to do
mainstream Bollywood films anyway,
because I can’t really see myself running
around trees and singing and dancing! But
I’d love to do some of the more
independent-type films – what we in India
call ‘parallel cinema’ – so I’m keeping my
fingers crossed.
When I’m not working, in Bombay. It’s a
very modern city and very free, so I can
walk around wearing sleeveless dresses and
short skirts and not get any bad reaction,
whereas if I did that in a different part of
India – somewhere small like, for instance,
somewhere in Rajasthan – that would still
be considered shocking. Although there are
some parts of Bombay which are still very
restrained. There’s a place called Marine
Drive which is very beautiful and quite
conservative, and a couple of friends of mine
were walking through it, a boy and girl, just
friends, just walking hand in hand… and the
cops came and stopped them, saying they
were in a ‘compromising position!’ So that
sort of stuff still does happen
sometimes, although luckily, never
yet to me.
Absolutely – one day. I want what
my parents have: someone I can
spend the rest of my life with and
have kids with. I look at them, and
I see how happy they are with each
other, and I want the same too.
That’s very important to me.
One day…
name﹕ Freida Pinto
born﹕ 18 October 1984, India,
to Sylvia, headmistress, and
Frederick Pinto, bank manager
Latika, Slumdog Millionaire, 2008
New Woody Allen project You Will
Meet a Tall Dark Stranger, 2010
maritalstatus﹕ Single, rumoured
to be dating Slumdog Millionaire
co-star Dev Patel.
I was a huge fan of Trainspotting and when
my manager told me that Danny Boyle was
coming to India to shoot a film, I thought he
was joking. Why would Danny Boyle come
to India? But of course he did, and I went for
an audition thinking: OK, fine, there will be
so many people, I’ll be easily forgotten,
because I have absolutely no acting
experience whatsoever. Luckily for me, it
turned out he wasn’t looking for someone
with great acting experience anyway.
PRI_075_privat_starSF.indd 76
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No.00000 Burgess 1pp.indd 1
17/06/2010 10:45
London • Paris • Brussels
No.00000 Hackett 1pp.indd 1
17/06/2010 10:13
Greg Thomas, president and CEO of PrivatAir,
celebrates the circumnavigation of the globe in ‘ecolights’
by two of its Swiss pilots on the centenary of the
first flight over Lake Geneva
enormous feat. Francisco Agullo
and Yannick Bovier decided that
they should challenge themselves
with targets that are still enormous
today: 3,174km of the South
Atlantic (15 hours) and 3,777km
of the Pacific (18 hours).
Their two-month trip
followed a route that began at
Sion, in Bovier’s home region of
the Valais, in the French-speaking
part of Switzerland. They flew
down to Dakar in Senegal, crossed
the Atlantic to Brazil, then went
north, over the Caribbean to
Florida, across to California, then
on, via Hawaii and the Marshall
Islands, to South-East Asia,
India, Oman and back to Europe.
The pilots made daily journal
entries charting their progress which
are on the website along with all
sorts of interesting background
information (
The aircraft they used are
made by the German company
Flight Design. The CTLS, of
which over 1,300 have been
produced, has a maximum take-off
weight of 600kg and normally
carries two people. Specially
modified with extra fuel tanks, the
two Swiss-registered aircraft of
the first overflight of Lake Geneva
(Lac Léman) marked one of the
milestones of the foundation of
Swiss aviation. To honour the
centenary, two of PrivatAir’s most
experienced captains decided
to circumnavigate the globe in
two sports ‘ecolight’ aircraft. In
1910, the crossing of 14km of
open water must have seemed an
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the Azimut team (HB-WYA and
HB-WYB, or more informally,
Céline and Dreamcatcher) can each
now only carry a solo pilot but
their range was extended from
1,400km to 4,000km. In fact, the
aircraft are so light they have their
own safety parachute. Yes, if all
else fails, the pilot just pulls a big
handle and a parachute pops out
of the top of the aircraft and it
floats down to safety.
Powered by a 100-horsepower engine, the CTLS aircraft
are remarkably fuel efficient,
burning just 18 litres per hour
of flight, hence their nickname
‘ecolights’ – a big contrast to
the Boeing 757 and 767 which
both pilots fly as their day jobs.
In fact, Francisco and Yannick,
as well as both being captains
on PrivatAir’s VIP Boeing 757
and 767 aircraft, have significant
experience in varying types of
aviation. Francisco’s brainchild
was the Breitling Super
Constellation project, which saw
the acquisition and restoration
to flying condition of the world’s
last surviving operational aircraft
of this type. Not satisfied with
one old-timer, last year Francisco
also acquired a share in a DC3.
As for Yannick, he is not
only an avid pilot of powered
aircraft but is also quite adept at
unpowered flight, being a regular
hang-glider and parascending
The round-the-world trip
took two years to plan, and was
designed to honour pioneers of
Swiss Aviation, including René
Grandjean, who is credited with
the first flight in Switzerland,
which took place on 10 May, 1910,
at Avenches. So it was that on 30
April 2010, the latest of a new
generation of brave, young Swiss
aviation pioneers set off in search
of a world first.
They have fulfilled their
dream, just 100 years after man
first flew in Switzerland. We have
gone from crossing Lac Léman
to circumnavigating the world in
the first 100 years. We can only
wonder what the next 100 years has
in store for Swiss aviation.
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‘Flying is not the point. The aeroplane is a means, not an end. It is not for the plane that
we risk our lives. Nor is it for the sake of his plough that the farmer ploughs. But through
the plane we can leave the cities and their accountants, and find a truth that farmers
know. We do a man’s work and we have a man’s worries. We are in contact with the
wind, with the stars, with the night, with the sand, with the sea. We try to outwit the
forces of nature. We wait for dawn as a gardener waits for spring. We wait for the next
port of call as a promised land, and we seek our truth in the stars’
PRI_079_Privat_air v2S.indd 81
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Offering jet charter and private airline services, PrivatAir has been a
leader in the f ield of luxury aviation for more than three decades
– for high flyers
the forefront of private aviation
for over 30 years, providing
the world’s most demanding
travellers with a comprehensive
range of capabilities, delivered
to the very highest standards of
safety and personal service.
Since its creation in 1977,
the company has grown from
being the corporate aircraft
fleet of the Latsis Group,
a global conglomerate, to a
world-renowned full-service
commercial aviation operator.
Today, PrivatAir is one
of the private aviation
industry’s longest-standing
and most prestigious operators.
Its global operations include
both jet charter and private
airline services.
PrivatAir’s charter services enable
you to travel in total privacy,
into and out of more than 5,000
airports around the world. For
over 30 years, the company has set
the industry standard in operating
aircraft of the highest quality and
providing outstanding levels of
service to our customers.
Whether it’s chartering a
Beechcraft 200 for a weekend family
shopping break, or a 50-seat VIPconfigured airliner for a three-week,
round-the-world trip, PrivatAir
offers unrivalled international
coverage, sourcing the best aircraft
to match each passenger’s individual
requirements. As such, our services
are regularly sought by governments,
royalty, celebrities and business
executives the world over.
After pioneering the all-businessclass concept in 2002, PrivatAir
now operates flights on behalf of a
select number of commercial airlines
who wish to offer their customers
an exclusive service on key routes.
PrivatAir also provides regularly
scheduled corporate shuttle flights
for companies that frequently need
to send their employees or clients to
specific destinations.
1 9 7 7 founded as the corporate flight
department of the Latsis Group.
1 9 7 9 acquired its first Boeing 737.
1 9 8 9 acquired its first Boeing 757
and Gulfstream IV.
1 9 9 5 received its Swiss Air Operator
Certificate from the Federal Office of
Civil Aviation.
1 9 9 9 became the world’s first
airline whose quality system fulfils
the stringent ISO 9002 certification
norms for all departments.
1 9 9 9 became the only commercial
operator with three Boeing BBJ ultralong-range executive aircraft.
2 0 0 1 gained ETOPS and FAA
approval to operate direct routes
across the Atlantic and Pacific Oceans
with unlimited access to the US.
2 0 0 2 launched its first transatlantic
all-business-class route.
2 0 0 3 founded PrivatPort with
Swissport to provide executive jethandling services at Geneva airport.
2 0 0 3 gained JAR-145 approval from
the German civil aviation authority.
2 0 0 5 renewed operating
agreements with all commercial
airline partners.
2 0 0 8 added new routes to the
Middle East and Asia.
2 0 0 9 introduced dual-class
services to a number of new
E i g h t y - Tw o
PRI_079_Privat_air v2S.indd 82
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No.58608 Hideaways 1pp.indd 1
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Meticulously crafted details. Pure technical excellence. Total unashamed luxury. The redefined Maybach is the ultimate
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No.52715 Mercedes Benz 1pp.indd 1
14/06/2010 14:38