100k

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T H E L U X U R Y L I F E S T Y L E • A U T U M N 2 0 0 9

COVER.indd Sec4:7COVER.indd Sec4:7 19/10/09 16:44:4519/10/09 16:44:45

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AlBari DPS AD.indd Sec1:2AlBari DPS AD.indd Sec1:2 14/10/09 15:08:0614/10/09 15:08:06

AlBari DPS AD.indd Sec1:3AlBari DPS AD.indd Sec1:3 14/10/09 15:08:1014/10/09 15:08:10

Benetti Yachts DPS AD.indd 2Benetti Yachts DPS AD.indd 2 14/10/09 15:09:2214/10/09 15:09:22

Benetti Yachts DPS AD.indd 3Benetti Yachts DPS AD.indd 3 14/10/09 15:09:2514/10/09 15:09:25

Harry Winston.indd 2Harry Winston.indd 2 15/10/09 09:53:0515/10/09 09:53:05

Harry Winston.indd 3Harry Winston.indd 3 15/10/09 09:53:0815/10/09 09:53:08

EDGEWORTH_AD2.indd 20EDGEWORTH_AD2.indd 20 14/10/09 15:48:0614/10/09 15:48:06


United Charter.indd 2United Charter.indd 2 14/10/09 15:56:0814/10/09 15:56:08

United Charter.indd 3United Charter.indd 3 14/10/09 15:56:1614/10/09 15:56:16

CONTENTSFashion & Luxe

30 Back in Black

65 Property

104 A Sparkling Return

127 Top 10

CONTENTS_sep09 16/10/2009 14:33 Page 12

CLASSIC JUNIOR CARS

SMALL CARS, GREAT TIMES!

fi nd a reseller : m

.yon, France

For more information, to place an order or www.blanc-chateau.co

Photos by Jean-Daniel LorieuxThe BMW logo, brand name and model name are properties of BMW AG and used under licenceBlanc-Chateau sarl, RCS 481 731 818 L

Car presented: BMW 328 Collector’s Car, scale 6/10, petrol engine 170 cm3, Chamonix white body with brown leather upholstery, hydraulic drum brakes.

Blanc Chateua Ad.indd 1Blanc Chateua Ad.indd 1 15/10/09 08:36:3915/10/09 08:36:39

46 Guardians of the Desert

58 Brave New World

98 Walking on Sunshine

114 Legend of the Pearl

CONTENTSPeople


And Beyond Ad.indd 1And Beyond Ad.indd 1 15/10/09 08:48:3415/10/09 08:48:34

28 36 Hours in Monaco

52 Urban Retreat

108 Venice of the North

CONTENTSTravel


AlJaber AD.indd 1AlJaber AD.indd 1 15/10/09 09:44:2115/10/09 09:44:21

CONTENTSFeatures

41 Champions for Sale

70 Saddle Up

84 Two of a Kind

95 All Change at the Exchange

118 Heavenly Hideaways


VOLKSWAGEN AD.indd 1VOLKSWAGEN AD.indd 1 14/10/09 15:57:3014/10/09 15:57:30

VELING DPS AD.indd 2VELING DPS AD.indd 2 14/10/09 15:56:5514/10/09 15:56:55

VELING DPS AD.indd 3VELING DPS AD.indd 3 14/10/09 15:57:0014/10/09 15:57:00

When I began working in publishing, I quickly found that my interest lay

in the world of luxury, and it still fascinates me every day—the power

of objects, the passion of craftsmen, and the progress that is made every

day by some of the smartest businesspeople in the world.

In this issue, which we’ve devoted to a look at tangible luxury, we were able to go in-

side some storied luxury institutions. The house of Hermès has been a benchmark for high

quality craftsmanship for more than 150 years, and we spent several days between New

York and Paris getting to know the company from the ground up.

We also spoke with a man who has devoted his life to promoting the

ultimate luxury heirloom—the vintage watch. Osvaldo Patrizzi has

been a fixture in the watch world for more than 50 years, and just

after the first anniversary of his brand new venture, Patrizzi and

Co., we sat down with him and his partner to get an inside look the

auction business—but ended up exploring the true emotional con-

nection he has to the watches he encounters instead.

As many in the luxury world know, the best way to preserve the

products we love is to sell them—to create a market for and an in-

terest in the work that we do so that no matter the climate, no mat-

ter the place, no matter the person, the object retains its value. It is

the common thread in the work of almost all of our subjects, from

Mohammed Zaal, who has brought his family’s vision of luxury li-

ving to life, to Hamad al-Ghanem, whose passion for his salukis and his falcons is keeping

these ancient hunting arts not just alive but thriving. We were inspired by Geoffrey Rus-

sell selling thoroughbred horses to the international racing royalty, and by Alistair Cal-

lender, who has designed an eco-friendly yacht that is the must-have boat of the

future—because whether your goods are old or new, there is always a market for quality.

Remember as you flip through our pages and as you move through the world—while you

may not be able to take it with you, there’s something to be said for enjoying the best of

what’s around while we’re here.

Kate Winick, Editor-in-Chief

The Editor’s Note

T H O U S A N D C L U B

ED NOTE_sep09 16/10/2009 11:58 Page 22

ASTON MARTIN AD:10jan 15/10/09 09:52 Page 1

Rebecca GoozeeRebecca Goozee is currently a contribu-

tor for 100thousand Club. She is also an

Associate Editor of Business Management

US, Next Generation Oil & Gas US and

MENA Infrastructure. She enjoys writing

about fashion, travel and photography.

Natalie BrandweinerThough Natalie began her career as a

business writer, interviewing executives

from a variety of industries, and still con-

tributes to several business magazines,

her understanding of the needs and de-

sires of high-profile people give her

unique insight into creating maps, lists,

and feature stories that will grab her

reader’s attention.

Sydney CannonHer fleeting feet and studies of Philoso-

phy have taken Sydney around the world.

The Los Angeles native now combines her

wanderlust, passion for all things luxe,

and love for literature to contribute to

100thousand Club.

Norimichi InoguchiNorimichi is a skilled photographer who

focuses on images using movement and

water. He is intrigued by the interaction

of water and fashion, and incorporates

his eye for movement into unique still-

lifes. He holds a BFA in photography and

was first in his class at the International

Center of Photography.

Josh Sailor After working in production for the better

part of his professional career, Josh even-

tually caved into his passion for photog-

raphy, and hasn’t looked back since.

Based in New York, his portfolio is as di-

verse as his experiences, and he creates

fabulous shots of people, installations,

and beautiful places around the world.

Matt ButtellMatt’s interests in the jet set lifestyle,

fashion, gadgets and style meld perfectly

with his other writings as a business jour-

nalist, which also help to offer a different

persepective to his work. Having con-

tributed to 100thousand Club before, his

extensive and varied ournalistic experi-

ence are a welcome return.

Contributors

CONTRIBUTORS_aug09 16/10/2009 12:00 Page 24

Taj Air.indd 1Taj Air.indd 1 16/10/09 09:07:4616/10/09 09:07:46

Editorial/ExecutiveChairman/Publisher SPENCER GREEN

Director of Projects HARLAN DAVIS

Creative Director ANDREW HOBSON

Editor-in-Chief KATE WINICK

Associate Editor NATALIE BRANDWEINER

Online Editor JANA GRUNE

Assistant to the Editor SVETANA ARAPOVA

Design Director JAMES WEST

Senior Designers ZÖE BRAZIL, SARAH WILMOTT

Contributing Writers

REBECCA GOOZEE, DIANA MILNE, MARIE

SHIELDS, HUW THOMAS, BEN THOMPSON

Contributing Photographers

JP GREENWOOD, NORIMICHI INOGUCHI,

JOSH SAILOR

Designers

MICHAEL HALL, CRYSTAL MATHER, CLIFF

NEWMAN, LIVIO BONDI, CATHERINE WILSON

Information

Advertising, Marketing, andClient ServicesT: +44 117.921.4000

Senior Vice President MAX CLIFFORD

Account Executives ANTHONY MATTHEWS,

NATASHA OGDEN, FLORA KATSOURIS,

REUBEN ALOISI

Finance Director JAMIE CANTILLON

HR and Personnel Manager OLIVIA REEVES

Production Manager HANNAH DUFFIE

Production Coordinators LAUREN HEAL,

RENATA OKRAJNI

Circulation Manager BEN KELLY

Subscription Enquiries

T: +44 117.921.4000

www.100thousandclub.com

General Enquiries

[email protected]

Letters to the Editor

[email protected]

PrinterWorkbrands Ltd. Ferodo House, Willway Street, Bristol

BS3 4BG, United Kingdom.

T: +44 (0) 117 9669189. E: [email protected].

www.workbrands.co.uk

100 Thousand Club

(Vol. 2, Issue 3, Q3 2009) is published four times a year

by GDS Publishing.

All rights reserved. GDS Publishing, Ltd.

Queen Square House, 18-21 Queen Square, Bristol,

BS1 4NH, UK.

Legal Information

The advertising and articles appearing within this

publication reflect the opinions and attitudes of their

respective authors and not necessarily those of the

publisher or editors. We are not to be held accountable

for unsolicited manuscripts, transparencies or

photographs. All material within this magazine is © 2009

100Thousand Club.

Head Office

GDS International

Queen Square House, 18-21 Queen Square, Bristol,

BS1 4NH, UK.

T: +44 117 921 4000. F: +44 117 926 7444.

E: [email protected]

CREDITS_oct09 16/10/2009 11:59 Page 26

Souteby's Portugal_AD.indd 1Souteby's Portugal_AD.indd 1 14/10/09 15:54:5714/10/09 15:54:57

After pounding the streets, it’s time to head

back to the Metropole and spend some time re-

laxing in your suite before heading out to the

Columbus Monaco for some excellent martini’s

and the signature cocktail, named Grace, out

on the terrace overlooking the Mediterranean

Fontvieille harbour. Alternatively, if you want

to spot the A list, hit Jimmy’Z Bar for a couple.

Boasting it’s very own philharmonic or-

chestra and ballet company, both of which

stage regular performances throughout the

year at the ultra-modern Grimaldi Forum and

the Monte Carlo Opera House, it’s time to

take in some culture before dinner. And while

there are many spots in Monte Carlo to dine

on some delicious delicacies, including Alain

Ducasse’s Louise XIV restaurant, located just

off the lobby of the Hotel de Paris, which has

three Michelin stars and 600,000 bottles in

Arriving at Nice Cote D’Azur Airport it’s

now time to board your helicopter transfer

to Monaco. With the journey taking just six

minutes, there’s not much to do apart from

sit back, enjoy the journey and take in the

stunning views of Monte Carlo from the air.

Transferred to the luxurious Hotel Metropole

by limousine, enjoy a chilled bottle of Bol-

linger and some lunch on the terrace whilst

your luggage is unpacked for you.

Widely regarded as the international

capital of the world for luxury, a trip to

Monaco wouldn’t be complete without some

shopping. After some relaxation why not

check out the famous ‘Golden Circle’, which

stands at the centre of the town and features

elegant boutiques and prestigious labels, al-

ternatively the narrow streets of the Old Town

display typical souvenirs. If you are after

some jewellery head to the Place du Casino

to fi nd Cartier, Chopard, Van Cleef Arpels

and Bulgari.

A synonym for luxury and a playground for the international elite, Monaco is a glittering gem lying on the French Cote d’Azur, just a few miles from the Italian border. The narrow ribbon of coastline backed by the Alpes-Maritimes foothills creates a natural amphitheatre overlooking the deep blue sea, the perfect spot for a little glamour and a lot of gambling.

36

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Day One

36 Hours Monaco.indd 2836 Hours Monaco.indd 28 16/10/09 13:27:3616/10/09 13:27:36

offers an unforgettable day getaway and a

gourmet lunch at a restaurant of your choosing.

Former Commander of knights, Le Château du

Domaine St Martin is a particular favourite as

it stands among the olive trees, perched on the

Vence Hills. The table is prestigious, and the

cave offers the best wines of Provence.

When you arrive back in Monaco it’s

time to visit the spa for some pampering. Les

Thermes Marins is one of the best spas in the

principality, with over 6600 square metres on

four levels dedicated to well-being, including

37 treatment cabins, most with a sea view,

one Turkish bath, two saunas and two indoor

pools. All treatments are fantastic, but a

particular favourite is the exceptional Monte

Carlo Diamond combo; it’s blissfully rejuve-

nating and uses diamond powder and rose oil

to exfoliate and soften the skin.

As the sun sinks lower in the sky a trip to

Monaco wouldn’t be complete without yachts.

Whether you decide to charter a yacht for

sunset, stroll along the harbour or sip some

champagne while soaking up the views it’s

got to be done.

Finally, after a jam-packed day, why not

have dinner at the Hotel Metropole’s main

restaurant, the Joel Rubachon. It’s absolutely

divine, offering a sophisticated and accessi-

ble menu with a Mediterranean fl avour. The

‘discovery’ menu is a delicious 10-course

tasting menu featuring caviar, foie gras,

clams and quail.

Then, depart just as easily as you arrived,

by helicopter to Nice Cote D’Azur airport and

on to your fi nal destination. A whirlwind tour

of one of the most glamorous destinations in

the world.

the wine cellar and is. Likewise, Le Vistamar

serves up mouth-watering seafood plates and

magnifi cent views.

Next up is a trip to the legendary Casino

de Monte-Carlo to gamble the night away. In-

augurated in 1863, this is the fi rst of all the

great casinos and its array of table games the

most complete and prestigious, with a gam-

bling style unique throughout the world. The

Summer Casino is also a great destination and

a favourite of the high rollers with the gaming

tables facing the sea at the tip of the Sporting

Monte-Carlo peninsula.

After a lazy breakfast in your suite, it’s time

to be whisked away by helicopter to one of the

best restaurants in Provence. Heli Air Monaco

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Day Two

36 Hours Monaco.indd 2936 Hours Monaco.indd 29 16/10/09 13:30:5416/10/09 13:30:54

BACKINBLACK

PRODUCTS_SEP09 16/10/2009 13:04 Page 30

Men’s jewellery is at its best when it’s strong, stylish and

polished to a shine. David Yurman and John Hardy have

maintained excellent men’s collections for years, and

some of their most popular pieces are always done in

classic black and silver.

From left to right:

Men’s Naga Siler Link Large bracelet and Raja Silver

Extra-Large bracelet, and Men’s Macan Silver Band Ring.

John Hardy. Visit www.johnhardy.com or 888.838.3022.

Black Scarab Ring, 3-Sided Chevron Pave Ring, Rectan-

gle Pave Ring, and 3-Sided Carved Inlay Chevron Ring.

David Yurman. Available at www.davidyurman.com or

877.908.1177.


BACKINBLACK


Just some of our favourite things – whether it’s an accent

piece, or the main event, from a major-label or an up-

and-comer, you can’t go wrong with sleek, black acces-

sories on your person, or on your dresser.

From left to right:

Fragrance. Tom Ford. Visit www.tomford.com. Cufflinks.

Jan Leslie. Available at www.janleslie.net. 212.679.5337.

Sunglasses. Bulgari. Available at www.bulgari.com.

800.285.4274. Button Cufflinks. Rotenier. Available at

www.robinrotenier.com. 212.768.1117.


BACKINBLACK

The latest from the clever folks at Research In Motion,

the Curve 8250, known as the Blackberry Gemini, is a

radical new design with dedicated media buttons and a

clear, dynamic interface. If you’re not already a Black-

berry addict, this will be the device that converts you.

Blackberry Curve 8250. Blackberry. Available at

www.tmobile.com. 800.866.2453.



BACKINBLACK

Barker Black was founded as the modern alternative to

men’s shoes and accessories. With their sleek design and

time-tested construction (handmade since 1880), and the

subtle details like the crowned skull and crossbones logo

adorning this pair of classic monk straps, they offer the

finest in subversive sophistication.

Euston Monk Strap Shoes. Barker Black. Available at

www.barkerblack.com. 212.966.2166



BACKINBLACK

For the ultimate resource for all things inhalable, the ven-

erable firm of Davidoff is our destination of choice. Pair

S.T. Dupont’s classic lighter with the stylish case of your

choice to impress any lucky soul with whom you choose

to share your sticks.

Ligne Two Lighter. S.T. Dupont. Available at www.david-

offmadison.com or 212.751.9060.


We don’t believe in leather jackets from fey high-fashion

brands – it’s the opposite of what a motorcycle jacket is

all about. For maximum style, durability and authenticity,

we go to Belstaff, making great-looking technical outer-

wear since 1924.

Original 50 Jacket. Belstaff. Available at

www.belstaff.com. [email protected].


BACKINBLACK


A. Lange & Söhne, originally founded in 1845 by Adolf

Lange in Glashütte, has survived two world wars and

countless fads to see Adolf’s great grandson reopen the

company in 1990, and bring back the quality of the orig-

inal Lange pocket watches. All parts, movements and

tools that the watchmakers use are made in their factory,

making it a true classic German luxury watch.

Left, Grand Saxonia Automatik. Right, Little Lange 1

Moonphase Soiree. A Langhe& Sohne.

Visit www.alange-soehne.com.


42 100 Thousand Club

Keeneland.indd Sec1:42Keeneland.indd Sec1:42 16/10/09 13:34:2616/10/09 13:34:26

Every September, the horseracing world gathers

in Lexington Kentucky for two of the most im-

portant weeks of the year, the Keeneland Racing

September Yearling Sale. Although this may not

be the kind of big-hat and mint-julep event most

civilians associate with the sport of horse racing,

this is in a way a more important event because this is the moment

when the future of the sport, the latest crop of thoroughbred racers, is

distributed around the world.

Geoffrey Russell, Director of Sales, is entering his 13th season at

Keeneland after years in the horse world, and his authority on thor-

oughbred sales is unparalleled. Raised in Ireland, he arrived in the

United States in 1982 for a summer internship, and never left. “It’s

my job and my hobby,” he says of the horses he’s sold to the tune of

US$2.5 billion over the course of his eight-year tenure. With the down

economy nevertheless a factor, interest in this particular sale remains

high. Keeneland has remained the top name in the fi eld and sold more

champions and stakes winners than any of their competitors, making

this an attractive business venture year after year for many investors.

“Some horses sell very well and recoup it, like Fusaichi Pegasus, who

was a Derby winner,” says Russel. Another being the 2006 Belmont

winner, Jazil.

“There’s no mistake that there’s a huge business component to it,

but a lot of people do it for enjoyment in their retirement. Its very fam-

ily-oriented, they can go to the races as a group, its great for families

to get together. It’s also major business. We’ve sold horses for as much

as US$13 million [Seattle Dancer, sold for US$13.1 in 1985, a record

that still stands], so it’s very strong. Some people are just commercial

breeders and they breed horses as their livelihood.”

Both these types gather together on the grounds of Keeneland to

experience the excitement of the sale. “We have a very beautiful plant,

over 1000 acres of parkland and 46 barns for the horses to be shown out

of. When the sale starts, the atmosphere is electric and the excitement

fantastic. The night before a sale we have a party for our consigners and

our buyers, and we like to tie it into our community – this year it’s a

Taste of Kentucky, to help them feel what it’s all about,” says Russell,

whose Southern drawl belies his Emerald Isle roots. “Keeneland is the

leader in the world, so in that regard I’m at the top of where I can be.”

The auctioneers welcome 800 people at a time into the sales pa-

vilion, as well as each of the horses, one by one, brought from a show

ring in the back to a sales ring in the front, as an announcer reads out

their names and lines. Despite all the advantages in auction technol-

ogy across the industry, this sale remains very much the same as it

ever has. “There’s a live streaming of the sale, but it’s all done on site.

You can phone in to your agent, but its not like buying Barry Bonds’

baseball, they’re living and breathing things, so you have to come

in and inspect them, be sure the horse refl ects what you’re looking

for. At Sotheby’s its either a Monet or it’s not a Nonet—maybe it’s a

Manet!” he jokes.

The town of Lexington transforms for the event, from the sleepy

center of the horse-breeding world to an international mecca. “What

makes Keeneland one of the leaders is because we’re based here. There

are four major sales companies in North America, as well as one in

Ireland, England, France and Australia; it’s a global business. We ship

these horses to the four corners of the world. The majority of our horses

are from Lexington, and people come to buy what we have.” They con-

duct all their auctions here four times a year and each time is a major

production. Entries close on May 1st and then physical evaluations

begin on the majority of the horses to be sold (2700 of the 5100 for sale

this year). “We go all through North America, as well as seeing some in

Europe, and by the end of July we put together the catalog. In October

we conduct racing, it’s the highest average purses in North America,

and then in November we sell mares. Our catalogs are graded based on

pedigree; the better pedigrees tend to sell early, the ones that we feel

have strong conformational attributes.”

“Our sales attract buyers from all over America, probably 75 per-

cent of our gross is domestic; the other being from over 48 countries

around the world. We sell at all levels so we have a constant fl ow of

people coming and going with the high end horses selling fi rst, and then

so on through 16 days this year. The fi rst two days we’ll sell about 200

a day and then 400 a day after that.”

They also draw in a strong fl ow of visitors from around the world,

particularly from other horse-loving regions. There is no mistake, the

thoroughbred horse is traced back to the three foundation Arabians,

and the great love for horse racing in the Middle East makes this a major

draw for many of the royal families, many of whom come in person to

43100 Thousand Club



participate in the sale. “One of the major buyers and investors in the

industry are the Maktoum family from Dubai. We have a lot of involve-

ment and they’ve all purchased at one time or another. It varies if they

come in themselves: Sheikh Mohammed comes on a regular basis, King

Abdullah from Saudi Arabia sends advisors, so it varies based on the

principals themselves. They’re very involved in all of this.”

While he won’t reveal too many details in the short few days

before the auction starts, there are a few in particular that are on

many peoples’ short lists: “Stormcat’s second to last crop is up for

sale. Its his last full crop and we think they’ll be very well received.

We’re also doing the dispersal of Overbrook Farm, who have built up

a wonderful band of brood mares that are very exciting. Its an exciting

time, a nerve-racking time for our consignors, this is their livelihood

– it’s nerve racking but we do look forward to it.”

“We have a very beautiful plant, over 1000 acres of

parkland and 46 barns for the horses to be shown out of”

As a livelihood, it’s certainly something of a nerve-racking choice

these days, but Russell says his veteran colleagues remain more or

less unshaken. “There is tax depreciation allowed on horses, and

the farm bill increased some incentive with the stimulus package.

You can still earn an awful lot of money racing in North America or

around the world, but it’s an expensive hobby.” Besides, he laughs,

it’s not in the nature of those in the horse world to be depressed

about the economy. “We’re an optimistic industry, everyone who

buys a horse thinks they’re going to win the Kentucky Derby. No one

buys hoping to just break even. So we tend to be optimistic in our

outlook, but we’re of course smart enough to realize that it’s a very

different time.”

Despite the current economy, purchasing a Keeneland horse tends

to be a favorable investment over time, because of the high stud fees

many highly pedigreed horses make after their purse-winning years

are over. Of course, you can’t put a price on the feeling of participat-

ing in events like the Derby or the Triple Crown or even the sale itself

from the seat of an owner, watching the action up close, with your own

heart on the line, bookended by glamourous social events. “I think

the thrill of it all, of winning in the auction ring or on the track, that

most people don’t know until they experience it,” Russell says. “We

see that a lot and it’s a great encouragement for people who are at that

level. They enjoy winning.”


L-3 COMMUNICATIONS AD.indd 1L-3 COMMUNICATIONS AD.indd 1 14/10/09 15:50:0814/10/09 15:50:08

Hamad Ghanem Shaheen Al-Ghanem is at

his most comfortable camping deep in the

Arabian desert surrounded by his family

and his beloved pack of Saluki dogs. We

meet however, in very different surround-

ings; in the grounds of an English country

manor surrounded not by sand by rolling

green parkland. It’s unfamiliar territory for Al-Ghanem but he is there

to promote a cause that very close to his heart; the preservation and her-

itage of the Arabian hunting dogs, the Saluki. Al-Ghanem has dedicated

his life to educating people on the role that the Saluki once played and

in many cases still play – in desert life. He is determined not to let an

animal that has played so big a part in Arabic heritage is forgotten. He

is Director of the Arabian Saluki Centre in the UAE capital of Abu

Dhabi, which promotes the preservation of the pedigree saluki dog and

provides owners with advice on everything from feeding to breeding. But

his work doesn’t stop in the UAE. He has attracted international acclaim

for the steps he has taken to preserve the breed, and regularly appears

at global events promoting Arab culture, including the UK’s annual Fal-

100 Thousand Club46

They say a dog is a man’s best friend.

But one Emirati has made preserving

his favourite breed a life’s mission.

Diana Milne meets Hamad Ghanem

Shaheen Al-Ghanem, Director of the

Arabian Saluki Centre.

Guardiansof the

desert

HAMED GHAMEN_oct09 16/10/2009 11:57 Page 46


100 Thousand Club48

conry Festival, taking place an hour from London, where I meet him.

He may be far from home but Ghanem’s determination to preserve tra-

ditional Arabic heritage, as so much of his country becomes modernised

beyond recognition, is abundantly clear. I asked him to explain to me

what keeps his passion for the canine cause alive.

Can you describe why it is so important to educate people about

the role that Salukis play in desert life?

Salukis are great hunting dogs. They hunt gazelle all year round and

rabbits. Nowadays hunting has become a sport but in the past to be able

to hunt in the desert was key to survival. It’s important not to forget the

old days because it is such an important part of our culture. We teach

children from generation to generation not to forget this very important

part of our past and we teach them about it through exhibitions, story-

books and in the media.

Why are you personally so passionate about breeding salukis.

What is it about this particular creature that you feel so strongly

about?

I have been around Salukis since I was born and they have existed

for many generations before me. We need to continue to keep them alive

and in good health and good hand. That is why we are working to pre-

serve the pure Saluki line and not mixing them with other species. Nowa-

days people are interested in breeding dogs because they want to win

prizes. But they don’t necessarily look at the quality of the dog. I am

looking for quality not quantity and I want to keep this part of our hunt-

ing culture alive.

Are Salukis still an important part of Emirati family life?.

Yes, when a family has a Saluki they share it with every member of

the family. So if you have a puppy you will share it with your brothers and

sisters and your cousins. They bring a lot of happiness into a family. And

when people have say three or four Saluki puppies they give them to

their neighbours and it helps them to form relationships between other

people. Relationships between families are sometimes built on the fact

that they have exchanged Salukis or horses. People give Salukis as gifts,

just as they might give falcons or horses. It is not a money issue it is

about love and care.

What are the unique characteristics of a Saluki dog compared

to other breeds?

The Saluki is part of the Arabian hound family that is able to live in

the desert environment where it is very hot with less food. They don’t eat

that much. In fact they eat whatever they can ran. Salukis are very loyal


100 Thousand Club 49

and they have a good temper. They care for their master and they are al-

ways around him, sharing his food, and living beside him. We like to host

visitors in the desert and the Saluki will lead the visitors to us in the

desert. If for instance you are camping in the desert and somebody passes

by he will hear the saluki and now there are others close by. He will go

towards them and come to us and we will show him our hospitality.

Can you tell me about the activities you are involved in the UAE

to raise awareness and understanding about the Saluki?

We established in 2001, the Arabian Saluki Center in Abu Dhabi to

preserve the pure breed and as a place where owners could register their

Salukis. Through the centre we educate people on how to look after them,

their health, advice on feeding and breeding and we encourage people

to protect and respect this animal that has been living among our peo-

ple for over 12,000 years.

You have a close working relationship with the ruling family of

the UAE. Can you describe their interest in the Saluki breed?

We support them when they hunt and we breed (salukis) for them.

Our Salukis will join them on their trips and there will also be camels,

falcons and horses on the trips. Arabian culture is all about hospitality

but also looking after the camels, the horses, the falcons and the salukis

is an important part of their culture.

The UAE has become very modernised. Are you concerned at

all that its cultural heritage will be lost as a result?

I don’t think so. The government is taking care to keep the tradition

and culture alive by organising plenty of exhibitions and visiting schools

to teach children about Arab culture. They are keen for children to un-

derstand how their ancestors lived. We want people to know about us

and we want our people to know about their own heritage and culture.

So, are there are a lot of expatriates in the UAE involved in the

centre as well as local people?

Yes, there are people who lived a long time in Dubai and Abu Dhabi

and, and in different countries in the Gulf, in Emirates – and during that

time they keep Salukis then when they go home they take the Saluki

back with them. The centre also covers other parts of the GCC and we

are even registering the number of pure line Salukis as far away as Jor-

dan, Syria and Yemen.

As our interview draws to a close an excited group of school children

approaches Al-Ghanem’s exhibition stand at the Falconry Festival keen

to hear about what makes his particular breed of dog so special. It’s a

subject he needs no encouragement to talk about and one he knows he

must pass on to the next generation if his cause is to be continued. n

As part of the cultural heritage of Arabian Hunting, Bedouins

have been breeding Salukis for thousands of years. These

Desert hounds, known for their exceptional stamina, intelli-

gence and loyalty are highly prized by all who own them. The

Arabian Saluki Centre honours the Arab tradition by provid-

ing a professional caring and friendly environment, where

members and their Salukis can experience the latest and state

of art services.

To find out more about the Arabian Saluki Centre, log onto

www.arabiansaluki.ae or email [email protected]


UDC Pearl Qatar.indd 2UDC Pearl Qatar.indd 2 15/10/09 09:54:5715/10/09 09:54:57

UDC Pearl Qatar.indd 3UDC Pearl Qatar.indd 3 15/10/09 09:55:0115/10/09 09:55:01

There is no greater media frenzy than of that surrounding world sporting events, bethey the Olympic Games, the Cricket World Open or the Grand Prix series. In 2010,South Africa is set to host the notoriously hyped World Cup; builders across the re-gion are racing to complete the new stadiums commissioned in time for the open-ing of the games on June 10, 2010, with Soccer City in Johannesburg hosting theopening and closing ceremonies, as well as the final.

URBAN

retreat

SOUTH AFRICA ED_NEW:31July 16/10/09 13:14 Page 52


100 Thousand Club54

As its cities are preparing in strong stead for the

influx of tourism the games are due to bring,

South Africa is drawing on its previous success

in attracting tourists – its breathtaking land-

scapes and richly diverse wildlife are world fa-

mous as a destination. Safaris across the

region’s plains, plentiful with wildlife, have brought visitors here from

across the world wanting an authentic African experience trekking

through the lush forests of Tsitsikamma or basking on the un-spoilt

beaches of the Wild Coast. However the World Cup is due to attract a

new type of tourist to its thriving city streets, with Johannesburg, Cape

Town, Durban and Port Elizabeth offering a contemporary, yet authen-

tic experience. The urban nightlife and metropolitan bustle of South

Africa’s cities hold their own in terms of luxury and entertainment, and

for those with a more fast-paced approach to tourism, the region’s urban

retreats have so far been vastly underrated.

Often described as a seaside playground, Cape Town’s ‘city bowl’

district is fast attracting tourists to the township. It is known for being

one of the most entertaining cities in the world, and only a 10 minute

drive from the water’s edge, the bustling metropolitan centre offers an

array of exquisite restaurants, an abundance of high-fashion stores and

endless miles of wine estates to indulge in following a day’s adventures.

There are a multitude of top-class places to stay, such as The Twelve

Apostles, which offers a personalised approach to hotel accommoda-

tion, and complete with its Sanctuary Spa has been voted the best spa

resort in Africa. Cape Grace and Mount Nelson are other exclusive ho-

tels; and as you would expect in an area thriving with wealth, you are

never more than a stone’s throw from a hotel of grandeur. But the tourists

found walking the streets of South Africa’s busiest cities are less inter-

ested in relaxing within the hotel and more about the adventures of the

city – the bright lights, busy crowds and trendy bars.

Cape Town, although magnified by its beautiful and cascading

scenery, is often compared to cities such as LA and Milan. Despite its

distance geographically, its fashion district is certainly not lacking in

style. In fact, Cape Town is booming for brands, as many designers are

realising the potential growth to be had on the continent. Often de-

scribed as a ‘label nation,’ Louis Vuitton has opened up the ‘Mother’

store, and design houses such as Escada, Gucci and Armani hold a

strong presence, as do the continent’s own emerging and well-loved de-

signers, such as Hip Hop, Errol Arendz and Catherine Moore.

However, it’s that time when the streetlights turn on that Cape Town

really comes out to play. Bursting with culinary delights from all over

the world, the choices of where to eat are endless. The culinary experi-

ence at the One & Only hotel is a guaranteed satisfier – both Nobu Mat-

Fans of USA join the people ofSouth Africa to watch the USA vBrazil match, FIFA ConfederationsCup South Africa 2009



suhisa and Gordon Ramsey have brought their respective Michelin-

starred talents to their first African venues. However, the need for im-

ported chefs from Europe and the US is fast diminishing, and local

South African chefs are now gaining popularity. Chefs such as Garth

Stroebel at the Mount Nelson, Barak Hirschowitz at Tides at the Bay

Hotel, and Graeme Shapiro at The Restaurant are regarded as Cape

Town’s best, combining traditional dishes with the exotic new ingredi-

ents of the modern world.

There is also a plethora of lively nightlife options, and deciding where

to enjoy an evening’s cocktail is equally as hard. Cape Town is home to

several options where you can wile away the nighttime hours – starting,

of course, after your sundowner cocktails, a delightful colonial tradition

that is still going strong all over the country. Café Caprice is regarded as

being the city’s ‘bar of the moment’. Located on the waterfront it offers the

perfect setting in which to watch the sun go down, in its cocktail bar or

intimate restaurant. Entertained by resident DJs, the crowd here is a local

one, attracting young professionals and the odd celebrity.

If it’s a night of music that is desired, Cape Town’s air of luxury ex-

tends into its club scene. Rhodes House is a club in which to find

wealthy locals enjoying the entertainment – the setting boasts three up-

stairs bars and an opulent VIP lounge to accommodate its frequent

celebrity visits. Hemisphere is another of the city’s most sophisticated

and stylish clubs. The contemporary décor of fiber-optic lighting and a

glass walled VIP area is enjoyed to the sound of retro music, and the lo-

cation provides a 180˚ view of Table Mountain upon which to enjoy the

dazzling sunrise.

Cape Town is not the only urban scene on the continent. Johannes-

burg is up-and-coming as a city due to its fascinating cultural heritage,

combined with the contemporary attractions enjoyed the world over.

Often referred to as the ‘City of Gold,’ Jozi, as its called by the locals,

is famous for its championship golf courses. Regarded as one of the best

cities in the world in which to indulge in this much loved sport, Johan-

nesburg has the perfect climate to stroll across the fairways. The courses

themselves are held in great esteem – 36 of the top 100 golf courses of

South Africa are located in Johannesburg. The Royal Johannesburg and

Kensington course, listed 12th in the ratings, is a particular favourite

with the locals. Established almost a century ago, the two courses

merged to enlarge the club’s bank account and upgrade both the courses

and the clubhouse. Both fine examples of metropolitan parkland lay-

outs, the course has played host to the Joburg Open since 2007, and is

the only golf club visited by the European Tour where more than one

course is used for a single event.

However, golf is not for everyone, and as a richly diverse city, there

are numerous other activities to enjoy. As befitting the city where gold

was first discovered (by Australian prospector George Harrison in 1886)

wealth seeps through almost every aspect of society, and holiday gam-

bling is enjoyed at the 300 tables located within the city’s many casi-

nos. Often compared to Las Vegas, there are few places with such an




extraordinarily high density of casinos to enjoy. Gold Reef City and

Montecasino are located within the city and open 24 hours to accom-

modate those moments when fluttering desires strike.

As with Cape Town, Johannesburg truly comes to life after hours. Its

vast array of restaurants are an array of cuisine to tempt all tastes;

Auberge Michel, an award-winning restaurant, offers an exceptional

seasonal menu of light French dishes and is known as being one of the

most exclusive restaurants in the city.

Durban is a lesser-known city with it’s own unique appeal. Re-

garded as South Africa’s beach getaway, the city is credited as being

the most culturally diverse spot of Africa – the city’s inhabitants cover

almost every cross section of society. Take a walk along the sands or on

the city’s streets and expect to find phone-clad executives, teenagers

and surfers, as well as the more traditional sari-clad matrons. It is the

closest seaport to Johannesburg and is notorious for its underwater ac-

tivities; it hosts South Africa’s only surfing museum, a sport that attracts

enthusiastic tourists to its shores the world over. With a multitude of

restaurants and coffee shops overlooking the small boat harbour, Dur-

ban provides the perfect setting in which to unwind after a day spent

battling the waves, stuck in the office or visiting its cultural art centres.

But despite its scenic beauty and natural attractions, the city is also

known for its nightlife, which is as fast paced as its water-sports. Joe

Kools is a regular hotspot for the locals; and its notorious Sunday night

parties continue well into sunrise. But for something a little more hard-

core, club 330 is regarded as South Africa’s best place for dance music.

For more than 15 years, magnitudes of DJ’s across the globe, from Carl

Cox to Josh Wink, have played the biggest tunes in the city’s most hap-

pening nightclub, and the scene has exploded into becoming one of the

top10 places in the world to party. Don’t be fooled by what appears to

be a traditional beachside town; hidden amidst the surfboards and

trendy bars is a scene similar to that of London and LA.

Without taking away from the region’s breathtaking plains and

teeming wildlife, South Africa clearly has more to offer than the tradi-

tionally conceived holidays of safaris and trekking. A trip to South

Africa’s cities is the perfect way to bask underneath the African sun

and admire the region’s culture whilst enjoying a modern, fast-paced

style of life, be it indulging in sumptuous cocktails, relaxing in a tran-

quil spa or dancing until the sun rises across the African skyline. �


BRAVE

NEW O R L D

ALISTAIR CALLENDER_oct09 16/10/2009 12:01 Page 58

Alistair Callender is opening up the horizonsof luxury yachting


100 Thousand Club60

When a lifelong sailor and lover of boats

applies their talents to the creation of

boats, it’s no surprise that the result em-

bodies the kind of creative thinking and

innate rightness of being that exists only

in truly important technology. As the

yacht business faces tough times and the world faces tough questions

about our use of fuel, he’s taken his innovative mind and applied it to

where these question intersects in the world of yachting and created So-

liloquy, the world’s first green megayacht.

Callender’s career on the water began early,

growing up 300 metres from his local sailing club

on the south coast of England. “For as long as I

can remember, I have been around boats and the

water. I was four when I first took the helm of my

father’s sailing dinghy.” One of his fondest sailing

memories is also one of his earliest, he remi-

nisces; “I was sailing down to the mouth of Chich-

ester Harbour with my family in our sailing

dinghy. I couldn’t believe the true feeling of ad-

venture – landing on this ‘remote’ and ‘secluded’

beach. It was my very own Swallows and Ama-

zons adventure. Apparently I fell asleep on the

anchor on the return journey later that day – due

to the incredibly relaxing sound of lapping water

to the bow of the boat – it is so therapeutic.”

He started seriously considering making his

hobby his career when at 16, he heard a talk

given at his school by Andrew Winch, the world-

renowned super-yacht designer. “I knew there

and then it was my ideal career path to take – I

have been hooked ever since!” He ended up get-

ting valuable work experience at the Andrew

Winch Designs office in London, and began his

formal education at Coventry University. Whilst

only a student, Callender was the only one se-

lected out of 150 others in the course for a six

month professional enhancement placement; in

his case, in Plymouth, United Kingdom, to work

alongside the design team at Princess Yachts In-

ternational. He has since continued his relation-

ship with the company and has several of his

designs for them currently in production. “Very

few people are lucky enough to work in an indus-

try they are passionate about,” he says, “I have

always been determined to be in that minority.” He spends his days on

a combination of computer-based CAD modeling work, sketch develop-

ment work and tangible model making. “I currently work from home,

which enables me to work far more productively as no time is wasted

commuting. In recent weeks my design day would finish on average at

about two or three in the morning, then up again for the next day of cre-

ating somebody’s dream! Long hours, but I thoroughly enjoy it. The per-

sonal sense of satisfaction I get at the end of a project, when I have seen

my design creations completed and in production is unbelievable.”



His inspirations for his designs vary widely; he says, “I like to try to

find new solutions and innovations with every new project I begin. I

wouldn’t like to pin myself into a particular bracket of design style. This

is because each new brief and client will require a new approach, and I

can adapt accordingly, to ensure their personal dreams and desires are

created.” In the case of his design for Soliloquy, The ‘Super-Green Su-

peryacht’ was strongly influenced by the design of the Rotating Tower,

currently under construction in Dubai. “The ever-changing forms, and

beautiful aesthetic, emotional connection was my main inspiration.”

Something he feels many consumers don’t know about the design process

is the holistic manner in which it is approached. “To achieve a well re-

solved end solution, every aspect of the brief and objectives have to be

100 percent understood, from the outset, rather than considering things

later into the design process. “ This is particularly

important if you want to achieve an eco-friendly de-

sign, as with Soliloquy. “My generation is passionate

about the planet; fortunately I’m also passionate

about superyachts,” he says. “I have always been in-

spired by one of my sailing heros’ conservation work,

the late Sir Peter Blake. I could not forgive myself if

I did such a radical superyacht design to push the

future boundaries of yacht design without consider-

ing, in every possible way, the impact that my design

will have on the planet. This was why I then ap-

proached Solar Sailor Holdings Ltd, their technology

seemed to perfectly match my green, rigid-wing de-

sign concept proposal.”

The simple explanation of the technology that

powers this 58 metre motor-sailor is that, through the

patented technology of Solar Sailor Holdings Lim-

ited, this eco-luxurious superyacht will be propelled

from wind, solar and hybrid marine power (HMP)

technology. The vessel can be sailed from only the

wind, and/or a combination of her stored electric en-

ergy to run the electric motors. Her speed is com-

petitive to other relative vessels, but with the

capability to be zero-emissions. As Callender sees

it, the advantages of green technology are limitless.

He has followed the development of this technology

for many years, and while researching his rigid-wing

superyacht design, came across Solar Sailor Hold-

ings. “It was the perfect application to my supery-

acht design. The slightly greater initial investment

more than makes up in savings thanks to the nu-

merous advantages the technology can bring. These

include lower levels of vibration, minimal noise, reduced running costs,

added resale value, and of course, the invaluable benefit of zero-emis-

sions, compliant technology. “A future owner has the opportunity to in-

vest in a superyacht that causes minimal harm to the environment and

has a holistic, carefully managed design approach. That will turn heads

and make a positive statement about them as an owner, in a way no other

vessel can.”

Of course, with a top-of-the-line superyacht, it’s not a boat where

you can skimp on the details. Balancing the desire for luxury with the

need for sustainability was a challenge that depended on creative sourc-

ing and being open to trying new materials and products. “Luxury takes

many forms, and research shows it is relative and individual to each of

us. Through the innovative design of numerous features onboard Solilo-

Alistair Callender


100 Thousand Club62

quy, I hope to exceed people’s expectations,” Callender says. “The key

criteria to achieve the required sustainable stance, was to ensure all ma-

terials and construction techniques were selected to be supportive of the

brief. More and more firms today specialise in having luxurious and eco-

friendly products. Therefore, this brings the opportunity to carefully se-

lect materials that are both eco-friendly and also

provide its user with the sense of luxury that is ex-

pected on a superyacht.

It was said at the announcement of the projects

that Soliloquy was originally intended for “an owner

of an eco-friendly stance, with a non-sailing back-

ground.” The vision of the ultimate user of the boat

is not been exclusive to these criteria, but it did ini-

tially form the basis for the brief, he says. “These

points are still valid, but do not exclude those out-

side of these areas by any means. In fact, the nu-

merous advantages will appeal to owners of numerous desires.” The

radical, architecturally dynamic form, with her ever-evolving super-

structure is truly innovative; something Callender believes will appeal

to numerous potential investors. “I wanted to design not only an envi-

ronmentally green superyacht, but have also tried throughout the process

to achieve an innovative design solution that provides an attractive, el-

egant and highly desirable vessel that many people would like to expe-

rience.” As to his ultimate buyer, he says, “I believe Soliloquy will be

attractive to many high net-worth individuals that see the true potential

for harnessing the 'power of nature'. Those are people that want to be

leaders in state-of-the-art technology, or to help make a difference to the

future of the industry, whilst they can also minimise their carbon foot-

print. Soliloquy might initially be for the client that wants to be the

first to own a radical superyacht design, perhaps simply because they

can, as well as clients who just want to experience something revo-

lutionary, whilst in the knowledge they are being eco-friendly.”

At this stage of the project, Callender Designs is still in talks

with different yards and naval architects and has not begun produc-

tion, but interested parties are encouraged to, and have already been,

getting in touch with the designers. They expect these finer details to

be influenced by the client involved. Callender firmly believes that

there are buyers out there – “information available shows that his-

torically the superyacht industry has been one of the least affected by

“I wanted to design not only anenvironmentally green superyacht, butan innovative design solution thatprovides an attractive, elegant andhighly desirable vessel that many peoplewould like to experience”


ZORGVLIET AD.indd 1ZORGVLIET AD.indd 1 14/10/09 15:57:5414/10/09 15:57:54

the financial climate, where new builds remain buoyant even during

times of recession.”

He expects that overall the direction in which he is going with So-

liloquy reflects larger trends in the yachting world that will develop over

the next few years. “We shall see more efficient hull design, and inno-

vative methods using renewable energy and propulsion,” within the next

five to ten years, he predicts. The green mentality provides an unex-

pected perk for those who worry they might be compromising the im-

pressiveness of their boats: “I think the average size of private luxury

yachts will continue to gradually increase in size. Interestingly, the larger

the design Soliloquy becomes, the more beneficial and efficient she be-

comes: thanks to the scale effect of harnessing renewable energy and

also hull length ratios.”

Harnessing free, renewable energies, that are plentiful in the areas

of the world that these yacht often frequent, will mean the running costs

will reduce, along with the other benefits that will all will be attractive

to future investors, in turn pushing more yachts in this design direction.

“Rigid-wing technology is certainly the future of efficient sailing propul-

sion,” he says, and Soliloquy is the first to apply such a rig to be incor-

porated within the superyacht industry.

This recent university graduate plans to spend his immediate future

on the circuit, giving various speeches on Soliloquy – the first will be in

Majorca this June, at the fourth annual Future of Superyachts Confer-

ence. “Solar Sailor Holdings Ltd. and I will be promoting Soliloquy’s de-

sign and technical innovations at various yachting events in the coming

months.” He also hopes to continue his own sailing career: “I have been

passionate about sailing for as long as I can remember, so I would wel-

come the chance to sail to the most remote and idyllic parts of the world.

I hear the Pacific and New Zealand islands are stunning. This, I think,

would be a wonderful place to visit. I am fascinated by visiting new parts

of the globe and I always enjoy experiencing new cultures.” Like many

sailors, Callender has a philosophical side to him, which has provided

the finishing touch to this project. After considerable time and thought,

he decided that ‘Soliloquy’ was ideal name for super-green superyacht.

“The syllable ‘sol’ in Latin means sun, which is one of Soliloquy’s main

forms of clean and free propulsion,” he says. “Also, a soliloquy in a

Shakespearean play is when a character divulges his or her innermost

thoughts, and deepest desires and beliefs to the world. In this same vein,

this yacht is the character that will tell the world that you no longer have

to design highly polluting luxurious vessels.” n

100 Thousand Club64


PropertyMiddle East

Al Barari, Dubailand, DubaiSet within the larger portion of Dubailand,

Al Barari has been designated by none other

than His Highness Sheikh Mohammed. A step

away from the commercialism of most projects

found in the region, Al Barari hosts an exotic

and beautiful space with over 80 percent of

plantings and greenery. The design is intended

to refl ect that of the Middle East’s natural

climate, echoing the sands and dunes of the

Arabian Desert and the development is set to

incorporate 300 villas, each encased in infi n-

ity pools, water features, outdoor massage area

and garden terraces, as well as a selection of

apartments and a hotel and spa. Lifestyle will

be a primary focus of the developers; architec-

tural themes will be used in the designing of

the Lifestyle Shopping and Cultural Centre to

both reiterate and magnify the region’s tradi-

tion. Unlike most current projects within the

UAE, Al Barari’s development has stuck to

schedule and intends to open its fi rst completed

luxury villas during October. The fi rst phases

of 287 villas is surrounded by six botanical

gardens and a 14.6-kilometre walkway, one of

the longest in the world.

New Middle East Property.indd 65New Middle East Property.indd 65 16/10/09 13:17:2716/10/09 13:17:27



Burj DubaiOne of the most talked of and media covered de-

velopments in the UAE’s property growth, the Burj

Dubai, is fi nally set to end all anticipation and open

toward the end of 2009. The developer, Emaar Prop-

erties, confi rmed in October that the opening will be

kept secret, building further hysteria of the already

world-renowned tower. Currently standing at 800

metres, the fi nal height is yet to be released, but is

already set to be the world’s tallest building.

The individually designed homes within the

tower will be spread across the three-wing plan that

maximises the amount of exterior window area and

natural light, without compromising on the important

element of privacy. Also located within the histori-

cal tower will be exclusive corporate suite offi ces,

the long awaited Armani Hotel, four luxurious pools,

a cigar club, restaurants, a library, an exclusive

resident’s lounge and 15,000 square feet for fi tness,

providing not just a living space but also a complete

set of social amenities.

The Burj Dubai is set to be one of the most desired

and luxurious addresses within the region’s capital.

New Middle East Property.indd Sec1:68New Middle East Property.indd Sec1:68 16/10/09 13:17:3416/10/09 13:17:34

69100 Thousand Club

City of ArabiaThis US$5 billion development may

not host its fi rst phase of opening until the

end of 2011, but with almost 80 percent of

the project already sold, now is the time to

invest. Not only a residential destination,

but also commercial, the City offers an

array of business and administrative of-

fi ces, as well as schools and clinics.

It’s vision is to become a prominent

urban centre within the region and is split

into four functions: Mall of Arabia – one of

the world’s largest malls, Restless Planet –

a US$300 million theme park, Wadi Walk

– a waterfront community of apartments

and cafes, and Elite Towers – a luxurious

collection of commercial and residential

buildings.

The City will incorporate a total of

8,200 residential components and on com-

pletion will home approximately 40,000

residents within a catchment area contain-

ing 1.87 million people. The vibrant mix of

residential, entertainment and relaxation

make it a vibrant yet peaceful place to live.

The Galleries, Downtown Jebel Ali, DubaiDeveloped buy Limitless, the company responsible for the

real-estate development arm of Dubai World, Downtown Jebel

Ali is set to be a 200 hectacre urban centre. Aimed at building

a community than widening its buyer’s property portfolio, this

is not simply a residential development. Amidst the townhouses

and apartments – of which most are to inhibit swimming pools,

gyms and 24-hour security – public spaces will contain parks

and plazas, creating a vibrant and bustling city.

The communities will exist within the development’s four

quarters, which together will host 237 residential buildings, set

in the design of congestion-controlled streets. In each quarter

there will be a mix of business and residential units, as well

as shopping and entertainment facilities, creating not only a

residential cluster, but a social hub. The Galleries will also

incorporate a Metro station in each of its quarters to inhibit

the company’s greener policies. Construction of the fi rst four of

eight buildings within Zone one is now complete, with the fi nal

completion predicted to be during the fi rst quarter of 2010.

New Middle East Property.indd Sec1:69New Middle East Property.indd Sec1:69 16/10/09 13:17:4216/10/09 13:17:42

HERMES .e$S:31July 16/10/09 13:32 Page 70


You see them everywhere – strolling Park Av-

enue in New York, shopping Knightsbridge in

London, dangling off tanned, toned arms in

Cannes and Monaco, and stuffed under first-

class seats of planes all over the world. But

the Hermès Birkin looks particularly at home

in Paris, reflected in the storefronts of the

Rue Faubourg, where in the glass vitrines of

number 24 contain more exotic and sought

after versions of the iconic handbag than anywhere else in the world. This is, in a sense, the

ancestral home of the Birkin bag, an enduring symbol of the luxury, good taste and humor of

one of the world’s most legendary luxury houses.

To witness the birth of one of these bags, however, you must head out of the glamourous city

centre and into the suburbs to one of their ten production sites, all located in France. We enter the

Harmonie workshop, a nondescript commercial building just down the street from Hermès head-

quarters in Pantin, on the outskirts of Paris. The waiting area, on this warm summer Friday, is un-

attended as only a French office on a summer Friday can be, and we peek into a vast fabric

warehouse ogling piles of silks and cottons until Kerry Hollinger, head of the small leather goods

collections, beckons us onward. She explains that what we’ve been looking at is one of the shirt-

ing workshops; Hermès ID is also in this building, where the wildest Hermès customer dreams

come true–helicopters, boats, motorcycles, anything that can benefit from the touch of Hermès

leather is customised here. But what I’ve really come to see, she says, is upstairs.

UpThe leading luxury leather houselooks to the future

Saddle

Saddlestitch image by Stephanie Tetu


100 Thousand Club72

The company, founded in 1837, stayed put in their offices above the

24 rue Faubourg store until 1992, when they were finally forced to ex-

pand; they’ve already outgrown what they still call “the new offices” and

are continuing to buy as many neighbouring buildings as they can. The

official number of 10 sites is not exactly correct – there are 10 for bags,

plus small leather goods and luggage, plus a special studio for alligator

bags, but not the wallets, which are made elsewhere, and not the saddles,

which are still made above the store, as they have been for the past 172

years. The degree of specialisation amongst the 250 craftspeople em-

ployed here and elsewhere is staggering; it’s not just corporate speak

when they say that these are workshops, not factories. Indeed, as is im-

mediately evident when we step out of the elevator, it is the physical and

philosophical opposite of a vast room full of people as interchangeable

as the parts they’re making – everything, everyone, is specialised.

In the Harmonie workshop, one is witnessing not just the creation of

the legendary bags, but the creation of something the company considers

just as important as its products – a new generation of artisans, trained

since their youth to be the best of the best. France has a leather school from

which Hermès takes the top eight students and apprentices them for their

own special training. “What they learn isn’t as intricate as what we do, the

quality is higher,” says Hollinger, and the students spend about 15 months

training in this and other workshops, by the end of which time they will

have made one Birkin and one Kelly bag, which between them include all

the proprietary details for finishing, inside and out. “They work under some-

one more experienced and we really emphasise

quality to them over and over.”

The apprentices in the workshop we visited

were mainly focused, on this sunny Friday afternoon,

on mastering sewing and finishing, but each step of

the process is as labour-intensive as the next – there

are no throwaway tasks. The time it takes to train an

apprentice fully is an investment on which the com-

pany refuses to cut corners: “After about five years

they’re paying for themselves; it takes about ten years

to master the whole range,” she says, “and at the end of

making a bag, the headmaster does the quality control –

if they’re not perfect but can be fixed, he will send them

back to the craftsman, if they’re just not up to scratch,

they’re destroyed.”

The quality control for an Hermès bag begins at the

very earliest stage of the process. The leather buyers

choose their own skins from the tanners, making selec-

tions at each stage of the tanning and finishing processes

– they’ll cull from the initial batch, then again after the

first tan, then again after the second, and then the buyers

make their final picks. The other skins will go

to other leather-goods houses, but none of them

could be said to be using Hermès leather – it’s

that eye for the best that makes their bags what

they are. This, of course refers just to calfskin;

Hermès produces many exotic skin bags as well,

and recently made headlines with the news that

they were breeding their own crocodiles in order

to fill the demand for their bags – a practice that

makes sense if you consider the disposition of

crocodiles and the difficulty of finding one in the

wild with the unscarred, undamaged skin nec-

essary for a bag. Regardless of the type, the skins

go next to the cutters, who select from the skins

for particular work orders and cut them to spec-

ifications, and the neatly wrapped packages of

cut leather forms arrive in flat plastic bags at the

workshops, packaged with shiny shrink-wrapped

hardware and the details of each work order –

everything the assigned craftsman will need to

make the bag from start to finish. “We know who

did each of the bags,” says Hollinger, “it’s im-

portant for our pride and for our quality.” Each Image by Vincent Sahuc


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100 Thousand Club74


oil just right,” she says – a detail which many companies machine onto

their leather bags to simulate that same effect. Little bits of bags and

leather, like bright flowers, pepper the workshop – here, the handle of a

tool is wrapped in red pebbled leather; there, the rough edge of a metal

hanging rack is padded with a strip of hot pink kidskin. All the leathers are

coloured on site by hand; the first crafstwoman we pass is putting together

the second of a pair of bag handles, all leather inside and out – a leather

core wrapped in a finished leather strip. Many are busily chatting and edg-

ing at the same time. The edge finishing is a slow, methodical process; Her-

mès edges are always dyed brown or black, in keeping with their roots as a

saddlery, and just one of the almost imperceptible details that gives their

bags that classic look. Coat after coat of dye is applied, let to dry, and then

the edges are sanded into a perfectly smooth, rounded half-moon edge. In

the hour we were there, there were several women who did nothing but this,

sanding away at edges so perfectly beveled it was impossible for the ca-

sual observer to believe they were shaped by hand, let alone had any ir-

regularities – but then again, these are not casual observers, and, says

Hollinger, “Its sanded and dyed as many times as it takes to get it

right–there are layers and layers on it by the end.”

Two tables in the back have larger bags gripped in cork-

lined vises; a 40cm camel leather Birkin and a larger Kelly

bag in a dreamy gray-blue color, one of the newest introduc-

tions to the range. Both craftspeople are absorbed in saddle

craftsperson has their own tools, and each sta-

tion reflects the various heights, hands, and

quirks of its owner – the apprentices learn over

time to arrange their things just as they will

need them.

We move from table to table, observing

some of the dozens of steps that go into creat-

ing one of these bags. Each edge, for instance,

has a line that’s hand-embossed along the

threadline – “they have to get the pressure and

Images by Quentin Bertoux


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Robert Chavez

stitching the thick layers of the tops of the bags, the signature stitch that

makes wealthy women all over the world confident that they can stuff

their handbags full of the detritus of a life well-lived, throw it into the

backseat or drop it on the floor, and it will still look every penny’s worth

as beautiful as the day it came out of its orange box. Done with two nee-

dles, the saddle stich is a very strong and secure stitch, a legacy, as the

name suggests, from Hermès’ roots as a saddlery. A single piece of sturdy

linen thread is covered in beeswax then stitched from both ends, a mat-

ter of practical importance that guarantees if

one stitch breaks, the rest of the thread won’t

fall apart, and it can go without being

restitched indefinitely – perhaps not a priority

for a modern handbag, but a definite asset on

a horse’s saddle mid-ride or mid-show. The

craftsperson uses an awl to make a hole, then

deftly switches the awl for the needle and pulls

both ends of the thread through to make a very

tight knot. Hollinger interjects, “When they

start stitching, they finish; they don’t take

breaks, they don’t go out – because maybe

after lunch, they wont have the same energy,

the same stitch.” And truly, even as I peer over

their shoulders, those in the middle of their

stitching remain in their Zen-like calm – chat-

ting with their neighbours, music playing, but

clearly absorbed in the rhythm of their work.

The bags are actually made inside out, the

basis for Hermès’ claim that every inch of their

bags are equally perfect – an almost unfath-

omable thing to imagine, except that then a

woman beckons us over to the corner, where a

black bag that would look at home on the shelf

of any boutique sits on her work table. “Black

lizard,” whispers Hollinger, “she’s been here

a while. You wouldn’t want to start on one of

those!” and indeed, as she picks up the bag,

flips the handles to point towards the floor and

“There’s always been a feelingof wanting to surprise ourclients, to do new things”

Portrait byAlexo Wandael


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begins to firmly, literally, snake them down the sides of the bag, working

the squeaking leather centimeter by centimetre, I would indeed not want

that. I’m not even touching the bag and I’m breaking out in a nervous

sweat, watching approximately US$15,000 of material, history, and human

labour take such punishment. She smiles, in on the joke, as she pushes out

the first corner of the bag’s bottom panel with an audible “pop!” and then

suddenly, three “pops!” later, there it is, not entirely finished but fully

recognisable in its black, glossy glory, a 30cm Birkin bag. With nary a

break in the action, she reaches for a dull wooden knife and begins work-

ing in the folds on the side of the bag, the end of her labour nearing.

Her neighbour, a very dashing young blonde Frenchman, is finish-

ing work on the hardware, one of the last steps in the process, and re-

quiring skills beyond that of a leatherworker into that of a silversmith –

each piece of hardware is nailed through the leather, and then the end

of the nail is cut off and hammered down carefully until its formed into

a nailhead, making it nearly impossible for the hardware to fall off.

“Every little bit is hand finished,” notes Hollinger almost unnecessarily,

as I am nearly dizzy with the amount of considered detail in every step

of the process, from the interior finishing to the cabinet of linen threads,

in every color they produce plus white, which is not even a white, just

the natural color of the high-quality linen thread. Different amounts of

time are allotted per bag varying according to size and material – a basic

Birkin is about 15 hours; 23-24 hours for crocodile, and it only goes up

from there. “All the detailing makes the bags costly, not expensive – it

adds up to so many hours by so many people,” Hollinger says, which of

course raises the inevitable question when discussing Hermès handbags

– how is it possible that a bag sold at a price which is more than many

people make in a year has waiting lists that are years old? And in a larger

sense, how has this company, which sells only the highest end leather,

silk, china and other luxury goods, managed to not only survive but

thrive and grow in the midst of an economic crisis?

The answer, according to Robert Chavez, CEO of Hermès

USA, is their deep understanding of their customer and their

commitment to their product. Hermès has never been about

ubiquity or flash, and that understated image is both more

attractive to their key customers and easier to maintain. “We want a very

limited distribution for our products, and I think that’s key to weather-

ing the storm – and we’ve been really all right so far. Remember last

fall’s 70 percent off sales? I remember walking into Saks Fifth Avenue,

seeing designer merchandise thrown all over the place, being sold for

nothing. I was horrified. We didn’t do it; people came in and said “Don’t

you have anything on sale? Everything else is on sale.” We just said no,

sorry, and it helped us – our customers fell off a bit, but it’s helped us in

the long run to maintain.” He also guided them past several other po-

Jean-Francois José


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tential pitfalls that befell many of their com-

petitors, rather than falling in to the lure of

ever-larger stores and ever-easier money. “I

draw a bit from them, but it’s more about what

not to do. We have great creative people here

figuring out where we can go, so they come up

with their ideas, and its up to me to see what

we have to avoid. Every time I see some gi-

gantic mega-flagship, I think my god, I’m glad

that’s not us, and I think right now a lot of them

are regretting things like that.”

Hermès’ devotion to their core customers,

a systematic program of communication be-

tween sales associates and regulars that was

implemented at the beginning of Chavez’s

tenure, has seen dividends. “A lot of the once

a year shoppers, who come in to buy that one tie, that one bracelet, they

dropped off significantly this year, but our regulars stayed with us. There

was some pulling back, which the staff saw, but for the most part they’re

still here.” And, he says, their commitment is not just to moving prod-

uct, but to truly understanding and making their customers happy when

they enter a store. “There’s always been a feeling of wanting to surprise

our clients, that’s a word we use a lot around here. There’s always been

an effort to do new things.” However, that surprise never comes at the

cost of the key elements that are the signature of the brand. “I think peo-

ple know us for three things. They know us for leather – bags, sure, but

also belts, small leather goods, other things, and then of course for silk

as well. The third thing is really our colour.” Colour, he explains, is an

icon at Hermès, “people notice it and appreciate it. I saw the color

kitchen in Lyon, where we’ve made something like 70,000 colours, and

it’s just incredible, something people respond to. And of course differ-

ent colours will sell in different places, maybe bright pinks and greens

By Vincent Leroux


in Palm Beach and darker colours in Boston–but that’s what is again

great about the buyers [who hand-select what they want to stock from

each collection for their particular stores and customers]. It also cre-

ates a funny phenomenon–if you see something in a store that you

love, you better buy it, because you might not see it again. It even

happens to me, I remember being somewhere and seeing a tie I loved

and then thinking, oh, well, okay, I’ll just get it when I get back to

New York, and when I got here they’d sold out of them entirely. And

once they’re gone, there’s no more.” It may seem counter-intuitive,

but the company has posted increasing profits in the two toughest

quarters since the beginning of the recession, and their competitors

are scrambling to get back to a similarly stable position.

Back in the Harmonie workshop, we inhale the smell of cauter-

ising leather, growing smooth under what looks like the stroke of an

electric fountain pen, our guide remarks that it was only 16 years ago

that they heated the smoothing tools on Bunsen burners sitting on

their tables, requiring yet another layer of ability to gage just how

hot your tool was. Electricity, frankly, seems like a better idea in a

room full of dangling bits of cloth and thread and leather, and the

craftswoman smiles wryly when the Bunsen burners are mentioned.

Progress has not left the workshop untouched, but certain aspects of

this traditional labor necessarily retain an old-fashioned feel. For in-

stance, men usually work on larger bags – not out of any ingrained

preference, she explains, but it takes a lot of strength to stitch

through that much leather. “In the trunk workshop, they’re making a

hole and then stitching through layers of wood and leather together.

In the small leather goods workshops, the staff is almost entirely fe-

male, where we need smaller fingers to finesse the stitching and turn-

ing.” There is no preference given to anything other than the absolute

top level of skill, and that makes hiring difficult enough. “You really

need someone who wants to work with their hands, wants to work in a

group, but there are places here to grow. They do advance, but they

have to be very gifted to begin with.” Of the few people who have left,

Hollinger says, “a lot of those came back – it’s just not possible to do

this level of work anywhere else.” The nature of Hermès as a family

company and a French company means that constant hiring and fir-

ing is not a habit or even a possibility were more labor were avail-

able, so instead, we have this – the best people, using the best

materials, to make the best product they can, every time. �

Images by Studio des Fleurs and Patrick McMullan

“I think people know us for three things. They know us forleather bags, sure, but also belts, small leather goods, otherthings, and then of course for silk as well. The third thing isreally our colour”


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Osvaldo Patrizzi’s New York City showroom,

high over Madison Avenue, is full of empty

display cases. Normally this would be

worrisome, but when your work is auctioning

off some of the rarest and most expensive

watches, clocks and timepieces to the highest

echelon of collectors in the world, a room full

of empty cases is a very good thing.

Two of a Kind

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85100 Thousand Club

Mr. Patrizzi, chiseled and handsome at 64 as only

an Italian can be, sits in the conference room

with his partner, Philip Poniz (whose business

card reads Expert-in-Chief) against the backdrop

of a window engraved ‘Patrizzi & Co.’ The watch

expert and chairman of the auction house has

been in the watch business for just over 50 years;

indeed, he created much of the watch business as

we now know it. With the founding of his fi rst auction house, Antiquorum, he is cred-

ited with essentially creating the market for collecting high-end watches, and now,

with Patrizzi & Co., he’s taken the experience gained over a lifetime to create a new

concept in auctioneering. Founded in April of 2008, the company is truly collector-

driven – it takes advantage of multi-screen technology to allow state-of-the-art virtual

auctions, which for the collector means they can follow multiple threads within the

auction at once, and for the house means moving up to 1,500 pieces per auction, rather

than the limit of four or fi ve hundred that most sites can currently handle. They’ve also

eliminated the buyer’s commission, a considerable change, since most houses charge

20-25 percent of the sale price added to the cost, a fee which can be considerable

when auctioning items in the millions of dollars. As Patrizzi & Co. is just celebrated

their fi rst anniversary after a very successful year, we went to the man himself to hear

his thoughts on watches, auctions and what he’s doing now.

How did you get started in the watch industry?

Osvaldo Patrizzi: I had to. My father died when I was 13 years old and I had to

work. I had an apprenticeship in a watch and clock workshop and it started my interest

and my passion for watches, and after I saw that I had an interest not only from the

technical point of view but the historical. I was smart, I was artistic, but I thought

people were such geniuses to have invented this mechanism to give you the informa-

tion you want. Astronomic or astrological,..today you have the GSM, the sun and the

watch. And the watch is able to tell you where you are with the position of the stars

and the sun.


How did you transition from watchmaking to auctioneering?

OP: I became a watchmaker because I had to work to make money

for my family. When I had enough experience around the world and

especially around Europe, I saw that Milano was too small. It’s okay,

it’s a big city, it’s probably the number one city in Italy for industry, but

it’s small. One of the best ways to succeed is to have a different kind of

instrument, and to get to know people, and the best way to do that is the

auction. You have the world in front of you; if you have a nice boutique

you have the street. It’s why I enjoy the auction. Today, if we have one

watch in New York, ten minutes later China, South America, they say

‘Wow, that’s a lot of money’. It’s really a test market for what the value of

the watches is for buying and selling.

How do you fi nd the watches that you auction? Do you source

from individuals, from companies, from other avenues?

Philip Poniz: Yesterday I was speaking with our partner in Los Ange-

les who mentioned that Osvaldo was in Los Angeles for one day and has

around US$1 million or so of watches. I like mushrooms, when I go to

the woods, I pick mushrooms. When Osvaldo goes anywhere, he picks

up watches, I don’t know how, but that’s what he does! They just come

to him. I know almost all watch people, there’s no one like Osvaldo, not

even close.

OP: Today, it’s a good day!

PP: Usually, we quarrel.

This, we note, is patently untrue. Poniz joined Patrizzi at Antiquorum

in 2000, and stayed with him after the dramatic breakup of Antiquo-

rum in the summer of 2007. After Artist House, the Japanese hold-

ing company purchased a 50 percent stake in Antiquorum, disputes

between the investors and the founder led to a series of disputes, fi rings

(including Patrizzi’s own ouster) and a fl urry of lawsuits on both sides.

Patrizzi never dwells on what happened between him and the company

he founded, though his anger at what took place was well-documented

in the press the following year. The reticence we expected on the sub-

ject of his former fi rm never manifested itself; he seems to have chan-

nelled that energy into his new venture, and is enjoying coming from

a very different place professionally – he comes in this time at the top

of his game, in a market that he himself is credited with creating, with

remarkable personal connections to the top experts, buyers and sellers

in the watch world.

What was is like to start over?

OP: You mean between Antiquorum and now? I started [Patrizzi

& Co.] for one special reason, to show that what the company

said about me, it wasn’t true. I mean, can you imagine, I

have 35 years of experience auctioning, 50 in the watch

world, even somebody comeing in with all the problems

I have, and I’m able to start a new company with no

problems. Normally when you try to start with a

problem like that on your back, with the lawyers,

the money, it’s hard. I lost some money in An-

tiquorum, but it’s no problem. What is especially

important is to show them that myself and the team

that wanted to join me, they’re the best people and have

more knowledge and experience than anyone in the world. I


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had somebody yesterday ask me ‘How many experts at our level are

there in the world?’ and I said, maybe 11? And two are in the same

company, in this room, it is fantastic. We though we’d open a new com-

pany, to do what we like.

PP: Wait, I thought it was just for fun!

OP: It is fun, we have a lot of fun. We have a lot of problems, but the

fun makes it easy to resolve the problems.

What’s been your biggest sale so far?

OP: There was a fantastic sale of renaissance clocks in May, in Milano.

It was fantastic not only because we had so many clocks and early

watches from one owner, but also these clocks are in excellent condi-

tion. We practically never get to exercise all of our passion, not only

for the wristwatches, but also for the clocks. The watches, sometimes

they’re boring, this is several centuries, several different styles, dif-

ferent mechanical concepts. When you have the chance to see it all

together, it’s really incredible. There are not many today who are inter-

ested in buying this kind of horological art. And also we had a spring

sale in Geneva that was very good, and one in New York, and some very

important watches coming up in September, there’s a watch that will get

probably a million dollars. We’re cataloging everything now. The best

souvenir for the moment is this collection of clocks.

You pioneered some new ideas in auctions, including the

themed sale, which you’ve continued to fi nd success with.

What do you think makes people respond to them?

OP: The idea to create a themed sale came from the way this business

normally is done. You have some interested people, really cultivating

one brand, one type of horology, but from the historical point of view,

only. And missing on the market were people who didn’t just approach

the expert, because there’s the collector approach. We live every day

with the collectors, we know what the collector wants, what they want

to see, what we have to explain. The thematic sale for us is the event

where we can go deep on the history of the subject, to explain in an easy

way for a dealer, collector or amateur who wants to know the brand or

the subject. Also, themed sales are supported by a lot of promotions, it

is commercial, most of its made by the collectors themselves. They’re

talking watches 18 hours a day. It’s a lot of work, the thematic sale, but

the interest in the brand comes from something we decide, something

important, like a jubilee, or the anniversary of an iconic model of that

brand, or we decide to focus on one kind of horology, say English or

French. Remember Antiquorum in Love?

PP: That was a good sale.

OP: That was a very good sale. We have to see the historical point of

view, what gives us a reason to focus. When we have this reason we start

Above: Osvaldo Patrizzi, Chairman Below: Philip Poniz, Founding Partner


89100 Thousand Club

to fi nd the pieces, to fi nd them, to describe and explain what the sale

means and what we want to show, and we see the customer respond to

that. The approach is totally different than the classic approach.

PP: Nothing like that in the history of the world has ever been as-

sembled.

Will you seek out watches along the lines of a particular

theme, or does the theme follow what you’re fi nding?

OP: If we fi nd a watch collection where the collection is possible for

a thematic sale, we start to see if we have an intellectual interest, its

important that it not just be a collection of very nice watches and then

we do an auction. We need to have something to talk about, something

to explain. If we fi nd that its just one kind, one style, we have to have

an argument to explain at the beginning, to create an auction theme. I

think it’s a choice we made from the beginning, in 1974 when I started,

then it was really only Sothebys and Christies, who were selling. When

I started my choice was to go directly to the buyer, to explain and de-

scribe. You don’t explain and describe it the same way to the dealers.

We started with this kind of education from the beginning because the

more people that have knowledge, the more that have the interest, and

the ability to pay. And that is what happened.

PP: Take the Art of American Horology. It was something which was

worth doing because American horology has a very special effect. He

decided to do it, and when I go to shows now, people talk about it, and it

was what, 10 years ago? Nobody else has done anything like this.

OP: It’s true, this approach, here and at Antiquorum, it created a lot of

interest around watches, even in Switzerland. In 1975, only two students

followed a horological path in school. They were thinking of closing, be-

cause no one was interested in mechanical watches. In 1980-81, when

we were starting to sell those watches and focusing on those watches

as a collectible, there were 24 students in the programme. Is it just

because of us? Probably there were always people who loved watches,

but people forget, if they don’t have people showing them what’s nice,

regularly exciting them about what we do. This was the quartz period

and it caused a lot of problems. From 1980-90, we’re missing a genera-

tion of watchmakers. The 1970s watchmaker changed from watches to

electronics. After, we’re starting again with manual and mechanical,

and they’ve come back. Today we have probably the best period in ho-

rological history, where the watch industry makes incredible watches.

We’re changing from horology to kinetic art, it’s a very nice evolution.

We want to create our own customers, we want to tell them our passion

fi rst, and the way we see our business. When we get together, Philip

and I, we don’t talk football, we don’t talk women, we don’t talk cars,

we talk watches.

Patrizzi’s communications manager overhears this and begins to

hassle him about his lack of outside interests – a particular issue when

trying to get him to engage in, say, Twitter. He laughs at the gentle

teasing, but then focuses in with his signature combination of excited

gesticulation and intense concentration.

OP: Watches are not a boring subject! You have so many developments

in art, engraving, enamel, repoussé and technical technical; it so rich,

we have to think for days and days to understand what the watchmaker

made 200 years ago, by hand, to create one watch, one escapement,

one complication.

PP: During our research, we have advanced the history of horology

signifi cantly. We discovered that the chronograph, the return to zero, it

was made about 30 years before it was thought to have been made. We

discovered the beginnings of Patek Phillipe, we’re still working on that.

Many things, from horological analysis, we created a number of historic

changes. Sixty percent of the watches that are in the most important

horological museum [Patek’s own museum] came through us.

OP: From what I hear yesterday in LA, we are only at the beginning.

There’s a machine that costs millions that can make a perfect watch.

For the future, it’s important. It makes it a million times more precise,

really millions, and its easier, cheaper, one wheel that would cost US$10

million, with this machine, costs US$3 million, and it has the capacity

to fi nish and be developed in the next 10 to 15 years, to develop the

most incredible watches in a medium size, not larger and larger. We’re

much more interested in the kind of horology of craftsmen, but from a

technical point of view its fantastic.

Why is there emphasis on making watches smaller when the

trend has been to make them bigger?

OP: At times, our interest, we explain to the customer. Alot of times

they don’t know the difference between a normal watch and an extra

fl at watch. A lot of people don’t understand the importance to be small

“When I go to the woods, I pick mushrooms. When Osvaldo goes anywhere, he picks up watches, I don’t know how, but that’s what he does! ”


and fl at – why? Because a smaller watch costs much more than a bigger

watch. Today, people like bigger, it’s showier, but at the time small meant

capacity, manual capacity, precision, requiring much more than a normal

size watch. And fl at, it requires the ability to work in very small dimen-

sions, it’s much more explain why an extra fl at watch costs much more

than a large watch, it’s hard to explain based on what we like. We have to

show them and get them to participate and get pleasure out of it.

PP: 22mm difference could be a 100 percent increase in the price. This

is in watches made in the beginning of the 20th century. You didn’t men-

tion the concepts! The entire idea!

OP: About the new auction?

PP: About the collectors, friends, not making them pay…

OP: One of our qualities in this business is not to take advantage of the

situation, to go deep in what we do, but also to see what’s missing, what is

not logical, or some situation where the business is driven by the fi nancial

people and not by the experts. It’s important to put the church in the

middle of the village. That’s why we decided with this new company to

start a new concept, and the concept is to give the real value to the buyer,

to eliminate the buyer’s commission and to become a partner with the

vendor. It’s diffi cult sometimes for people to approach the auction when

they don’t know how much they’re going to have to pay. Emotion pushes

them to go up, up and up and afterwards they come down, and start to

think “Oh, how much do I have to pay now? I have to pay 068.6 thousand,

plus the commission is US$12.8 thousand, plus tax is US$137 thousand,

my god, 30-40 percent you pay on service. This is important because it’s

30-40 percent of the auction house charges of the value.

If you want to include the service in the value of the watch, you have

to reduce the value of the watch, to reduce the estimation and give the

lowest bid to the buyer and say its low, I’d go up. Its not the reality of the

market, when at auction you’re selling, the estimation still exists, people

don’t understand why the sale prices are up and down. If I put down 100,

I pay 100, its simpler from the buyer’s point of view, and from our point

of view, if you know how much you’ll pay, maybe you’ll buy more. It’s

simpler. And if we send to the vendor this watch worth up to US$102.5

thousand, we start at US$61 thousand and split the difference, he says

okay, he tries to make the best for everyone. We don’t just to sell to get to

the commission at any price, its not important how much it fetches, just to

get the auction house the commission to survive. It’s a friendly approach

and a transparent approach, and today with a real global market, this

kind of transparency helps a lot, and we see the result, we have spec-

tacular sales.

Have you noticed an infl ux of new watches in the economic

downturn? Do you think people are trying to recoup some of

what they may have invested in watches?

OP: To buy new watches to make money, it’s not a very clever idea. You

have to buy the watches because you like them and you have the capacity

to buy and get pleasure out of them. It’s a mistake at the beginning to think

that, “I’ll buy the watch at the next watch show and keep it six months

and sell it for a profi t.” You don’t buy one car and keep it six months

and expect to make money. You have some cars and some watches that

are so rare that are made in so few models that are so spectacular that

sometimes, yes, its true, the limited number, the quantity of demand push

up the price, but most of your new wristwatches are time instruments,

not investments. You have to give at the time what they want and keep it

while the price evolves for 15 years and after 30 years the price will be

stable and it will be vintage. But not in two or three years.

I think it’s a mistake in the beginning to buy for investment; you

should buy what you like. And what you like depends on the amount

of money you have, the pleasure you get, you buy what you like.

Later, collecting for investment, its possible. We see that when the

value of the money goes up, the value of everything else goes down,

but the watches are more stable than some other art because its



Paul Beckett Ad.indd 1Paul Beckett Ad.indd 1 14/10/09 15:52:5714/10/09 15:52:57


small, easy to transport and there’s a worldwide appreciation. It’s more

diffi cult for the Chinese to appreciate a piece of modern art than a watch,

because it’s known worldwide. Pieces of modern art from a new artist is

much more of an investment. Philip just came from Shanghai.

PP: I called Osvaldo and said “We’ve got to establish an offi ce in China,

we’ve got to.” The level of sophistication and interest of the Chinese is

remarkable, and it’s developed very quickly. I believe that the most ex-

pensive watch from our next sale, the Only Watch, will be bought by a

Chinese collector.

Is it diffi cult establishing presence in Asia?

OP: It’s much more diffi cult to fi nd good people. To fi nd a place, no, to

get the documents and meet people, no, but to fi nd nice people to work in

the same spirit, its not easy, because you need time to see who is really

passionate, or just trying to make money. After so many years, though, we

know people who are able to help us.

You seem to consider new collectors in your thinking quite a

bit; what was your fi rst watch?

OP: The fi rst watch I ever bought I received it when I made fi rst com-

munion, when I was 11; it was a Zodiac. At the time, it was like, wow.

My fi rst purchase, I was probably 14, but it was not for myself, just to

buy something to sell it. In Italy at the time, the fashion was to buy the

English style long-case clocks, with many of the companies changing

their names for Italian. I remember I bought one very nice long-case

clock from Scotland, I put it at home in my apartment, and after a few

days, somebody came in and wanted to buy it, and I said no, this is for

me – but hey, if I sell it, I make money!

Do you fi nd that a lot of watch collectors are interested in

clocks?

OP: At the time in Italy, most people were interested in clocks. They

were easy because you enter in the house and see them; in watches you


93100 Thousand Club

PP: He was the fi rst to realise that certain types of Rolex dials with age,

change colours. Collectors started calling those dials Patrizzi’s dials.

OP: This is my own brand, Rolex! But really, what is nice is that these

mistakes sometimes are so charming, we see in the plate collections

some color, from black to chocolate, or chocolate to red, or bluish – you’d

never produce it. Like Indian Summer.

Did you ever consider taking your career in another direc-

tion? What would you be doing if you weren’t doing this?

OP: I’m very happy with what I do. Just yesterday, we had a meeting

with several people, collectors, investors, but also musicians, and when

I was talking music, I think that in my next life, I’d like to go down

that path. I like piano, the violin. It’s fantastic because these people

are from a foundation for young musicians, we fi nd one young guy who

plays fantastically and needs money and decided to support him.

PP: Ah! Now I understand the concert before our last Milano auction!

We organised a concert of string instruments, but the real old strings,

the way they used to be strung a 100 years ago, natural guts. A little

bit softer, it was hard to organise when he was in Paris, but he brought

an orchestra from London to Milan and it made quite an impact. Maybe

that’s why we sold those clocks so well!

OP: Especially because the music was specially composed for clocks.

PP: Yes, I forgot, about the music, not many people know about Mozart

and others, they made music for clocks. This was a concert from that

music. They were making very sophisticated music.

Is that something you see yourself doing more of?

OP: I think we have to think, I’d like if one day we could do American

music, to get an American composer from that same period, because

they’re really two different things but so similar in some ways. Some-

thing that explains another thing.

PP: We got the oldest existing American-made watch, from the 1760s.

A watch with a really unusual escapement. The ébauche bounces, the

fi nish and everything is American. A remarkable piece. We got it be-

cause of the Art of American sale.

OP: Oh?

PP: And, it’s from a clock collector! It requires an article, it requires

someone to write good music for it.

So what’s coming up next for Patrizzi & Co.?

OP: Next, I can’t tell you, because we haven’t signed the contract yet,

but the company is very famous, in the next year they’re having a very

important anniversary, and the company is really interested in giving

to us and to explain to the public their brand and model that’s very im-

portant, to explain the design, and how the model changed the way we

need to keep them in safes, go to the bank to see them. If watch collec-

tors now buy clocks, it’s just for decoration. The pocketwatch collectors

sometimes overlap, because a pocketwatch and clocks come from the

same kind of passion. Wristwatches are a different world, and different

age. Watches, the youngest watch collector we have is 11 years old, he

came with his mother to the auction, and the mother said, my son is

bidding, whatever he does is okay. He bought six watches, very clever

choices, very nice. He was Chinese, he bought for a real amount of money,

US$74.3 thousands. Wristwatches are probably around 55-60 years old.

Pocketwatches start probably at US$37 thousand and go up from there.

And clocks are probably more around 40-50 years old, the average age of

a collector.

And what do you wear now?

OP: Now, it’s a Rolex Daytona, with the dial that’s changed colour. I was

the fi rst to realise this kind of mistake, and collect them.



having a good time, you switch the lever, and the watch goes slowly so

the time expands twice as big. The other way around, if it’s a lousy time,

everything goes bad, stressful, you switch the lever to the other side, and

the time starts fl ying. Then of course when you come to your senses, you

put the lever in the middle and the hands go regular time. Nothing like

that had ever been thought of, to say nothing of making – they made it

for us, for this Only Watch.

OP: The approach is very interesting, because practically we go out

of what is the gold standard regulation of watchmaking. It’s really a

philosophical point of view, and like I said, kinetic. Finally, it’s not more

important than time, but when I met with another guy [from the watch

company MBR], it was really the new frontier. When I saw this watch,

I’d been to the offi ces, and I said “Nice, okay, its different, it’s a new con-

ception, but I don’t see the time.” And it’s not important! You make the

watch but it’s not important that it tells the time. We started talking and I

opened my mind and I thought ah, maybe we’re not talking about a watch,

we’re talking about a piece of art. And because the idea comes from the

mechanical pieces, it becomes kinetic art. It’s not important what they

do. When I ask him, “But who is your customer?” because they produce

35 watches a year, no more, he gave me the names and practically all

these people are major collectors worldwide of modern art.

Practically it’s that concept, to do something, use the shape, the

wrist, that is logical with the personality of the owner, and sometimes

you make these; it’s not a time instrument, it’s a piece of art moving to

help you fi nd more or less where you are – what kind of time is now.

produce and made watches. I’ll tell you, it’s not Rolex, it’s not Patek.

We also have the Only Watch, which is a special sale, important

for several reasons. The auction is for a charity, the whole amount is

given to research for muscular dystrophy. I founded it with Luc Pet-

tavino four or fi ve years ago, and asked each manufacturer to give us

one watch. It went very well, with the patronage of these companies,

and being in Monaco is important. We asked for watches for selling,

and sold them well because its during the Monaco Yacht Show, the

best event for boats, which brings to the same place, a few square

metres, billionaires from all over the world, and we can show them

something different than boats. And the second year, when the cata-

log was prepared, we had the fi ght with Antiquorum; last year, the

manager of the yacht show, after I’d already opened this company,

asked if I wanted to do it again, the Only Watch. I said yes, but we

decided to change the aspect of the sale, and the reason for the sale.

Not where the money goes, but the idea is really to make a gala of

extraordinary watches.

Just to get watches for selling, okay, it’s nice, but it’s not exciting

enough to do three times, people won’t fi nd a reason to pay double just

for charity. But for an extraordinary, unique piece, yes. We explained to

the watch manufacturers the project, and we got a fantastic result, be-

cause all the major manufacturers decided to produce a special watch

for this occasion – one incredible watch. And you have some watches,

the evolution of them, they’re modern and still unique, or they’re the

fi rst of a very small series, still with something different. The commer-

cial part, from the psychological point of view, that the manufacturers

decided to accept it, decided to put their name with our name, this is

very important. It means a lot to us after what happened, to have 100

percent support and it’s a pleasure to do something there.

And this is something really new, somebody from Singapore with

somebody from Richemont asked me if we’re interesting in making,

every year or every two years, one new concept at Basel, only for a

spectacular watch, just to create an event, push people worldwide to

talk about something spectacular.

PP: Like a contest – one watch, and one of the most important manu-

facturers.

OP: The Basel fair, the Geneva fair, it’s nice, but it’s made for produc-

tion, its made for US$10 thousand – this, we’ll make one. It’ll push

the boundaries. It’s so important that they see the capacity and the

savoir faire of the watch industry, the manufacturers. This is really

something.

PP: For Only Watch, they made something that has been not unheard

of, but unthinkable. They changed the meaning of time. They made a

watch where you can adjust your pace of time, literally. It’s a philoso-

pher’s stone sort of watch, literally. If the time goes well for you, if you’re


95100 Thousand Club

All change at the exchange

Foreign Exchange trading, known

as Forex, has boomed in recent

years, as many have realised that

the currency market provides great

opportunities for reaping profits. Volatility

within currency markets the past two years

has given many investors windfall profits –

although many have taken substantial losses as

well. Also appealing to Forex investors is the

market’s 24-hour nature; Forex trading occurs

non-stop from Sunday to Friday through all

the world’s major markets, allowing investors

a great way to allocate their free time for

recreational trading.

As mentioned, the currency markets have

been extremely turbulent throughout 2008

and 2009 – case in point, the relationship

between the US Dollar and the British Pound.

Trading for around 2:1 (respectively) during

July of 2008, the dollar strengthened up to

1.35:1 by January of 2009; by August of 2009,

the dollar had once again slid to 1.7:1. Even

more dramatic rises and falls have been seen

in other currencies, with the relative strength

of currencies like the Mexican Peso having

been decimated through 2009 as a result of

the global economic crisis. The profits gained

through the wild swings in the world markets

have been a silver lining of the crisis though,

as speculators have taken advantage of the

market’s uncertainty.

Foreign Exchange trading, knownoreig

as Forex, has boomed in recentas Forex,

years, as many have realised thatears, a

the currency market provides greatth

opportunities for reaping profits. Volatilityopport

within currency markets the past two years

FOREX ED P95-96.indd Sec1:95FOREX ED P95-96.indd Sec1:95 16/10/09 13:21:4416/10/09 13:21:44


currency speculators bear no responsibility

for the huge impact they have on the general

population’s lives; whole populations have

been plunged into depressions because of

speculators from across oceans. Given the

general global push for more government

intervention while the current economic

crisis continues unfolding, a clampdown

on speculation in the currency markets is

possibly close at hand.

Regardless of whether speculation is

curtailed in the future, the currency market

today provides a great opportunity for new, as

well as seasoned, investors to test their skills.

Tracking the change in ticks (the smallest

amount that exchange rates can change by)

between Dollars, Euros and everything else

can be both a business and a hobby, and

is a great way to stay informed regarding

broader subjects pertaining to international

economic data.

Speculators dominate Forex trading, and thus trading on margin is

a crucial component of the currency market. Trading on margin is the

hallmark of Forex trading given how small movements within currency

markets are, with minute-by-minute movement usually measured in

the hundredths of cents. The use of margin trading removes entry

barriers because small margin deposits can be used to leverage such

large sums of money that traders just starting out can make large

amounts of money very quickly (or, they can obviously rapidly lose

money). Larger investors can actually inf luence the markets when

trading on margin as they can leverage such massive of money that

individual currency trades impact exchange rates.

The responsibility speculators have to the general population has

been debated in the face of calls for more regulation of the financial

market – speculators operating in the energy markets have already been

thoroughly demonised, following the huge f luctuations in commodity

prices as a result of their trading. With the effects of speculators

evident in the relative failures of several currencies, many have begun

calling for regulation of currency speculation. Speculators can have

such a huge impact with relatively little collateral that some believe

they hold too much sway in the world markets, and that reducing

trading on margin will help to limit market volatility. Essentially,

FOREX ED P95-96.indd Sec2:96FOREX ED P95-96.indd Sec2:96 16/10/09 13:21:4716/10/09 13:21:47

Mediacom(DBFX)_AD.indd 1Mediacom(DBFX)_AD.indd 1 14/10/09 15:51:0314/10/09 15:51:03

Rupert Sanderson_4.indd Sec1:98Rupert Sanderson_4.indd Sec1:98 16/10/09 11:54:4716/10/09 11:54:47

99100 Thousand Club

upert Sanderson’s footwear collections have

long had a reputation in the fashion industry,

but it is 2010 that is set to be his most explosive

year. He has already this year teamed up with

Karl Lagerfeld for the fashion mogul’s Fall ’09

show in March, announced his fi rst ever pop-up

shop in Paris in the same month, and celebri-

ties such as Cheryl Cole and Sienna Miller are

increasingly spotted wearing his shoes.

Rupert’s story as a designer originated far

outside of London. Born in Penang, Malaysia,

it seems no coincidence that he shared the

same birthplace as Jimmy Choo, but, rather

differently, Rupert’s interest in crafting shoes

originated in his passion for architecture. “As

a boy I was always interested in architecture

and the structure of designs such as boats,”

he explains. “This somehow turned into a pas-

sion for shoes which have a similar construc-

tion. I worked in advertising for a number of

years after university, and at a certain point I

realised I had taken the wrong fork in life and

knew I had to pursue my love of a good shoe.”

He enrolled on a shoe-making course at

the world-renowned Cordwainers College in

London – its famous graduates include the

notable Jimmy Choo, Beatrix Ong and Emma

Hope – and armed with his degree certifi cate,

he began his apprenticeship under the guard-

ian craftsmanship of Sergio Rossi and Bruno

Magli. He describes working alongside these

Italian greats as a “real privilege,” and the in-

fl uence of the individual Italian style, as well

as the quality, is easily spotted throughout his

work. “It informed me on my approach to my

own business – ‘piccolo e bello’ as the Ital-

ians say. Large groups are good for economies

of scale and muscle in the market but don’t

always work for everyone,” he says.

It was his journey across Italy during his

summer break at Cordwainers that formulated

his passion for the Italian craftsmanship that

has become synonymous with luxury and

sensuous design. On the back of a motorbike,

he travelled across the region, visiting shoe

factories and tanneries, which later was seen

to be a huge infl uence on his style of design.

“My travels made me realise that there is a

wonderful world out there of people who still

specialise in making things. Manufacturing is

Walking on Sunshine

RBy Natalie Brandweiner


Sothebys AD.indd 1Sothebys AD.indd 1 14/10/09 15:54:3214/10/09 15:54:32

not a big automated oily business – it can be a

man making a good living making the world’s

most beautiful buttons,” Rupert says.

In 2008, Rupert founded Fashion Fringe

Shoes with Colin McDowell, with the aim of

discovering new talent. “The idea for Fashion

Fringe shoes sprung from my experience of

living and working in Italy for Sergio Rossi.

I gained so much knowledge about the actual

craft and construction of shoes that I was

lucky enough to take a controlling interest

in my own factory. I thought it would be good

to give a really talented young designer the

chance to have a similar experience to help

them on their way,” he says.

In the same year, Rupert became rec-

ognised for his designs and was awarded

Accessory Designer of the Year at the 2008

British Fashion Awards, as well as receiving

the same title at the Elle Style Awards. Such

recognition so early on in his career was, as

he describes, “Vindication of all the hard

work, from everybody for everybody. Elle have

always been a fantastic supporter of my work,

and I appreciate the honour.”

Elle are certainly not his only supporters.

A year later and the stir within the industry

of his award-winning designs gained him sup-

port from Le Bon Marché Rive Gauche. The

department store invited Rupert to open his

fi rst ever pop-up store in the French capital

in March this year, just as Paris fashion week

began, with Rupert hosting a selection from

his Spring/Summer ’09 collection.

A London based designer, Rupert’s

shoes are designed for what he describes

as, “Clever, sexy and self-assured women

who know what suits them. Women who wear

their shoes, and don’t want something to

wear them.” He loves women with the style

to really pull off his shoes, from “a Russian

oligarch’s wife in full sail,” to his British

countrywomen, who he says are “a wonder-

ful mix of the conventional and fashionable

ambitions.” Living and working amidst the



describes as being hugely inspiring. “I am

also involved in the Royal Opera’s 2010 pro-

duction of Aida, which is under the direction

of the super stellar David McVicar, so expect

a little Egyptian infl uence in my Spring/

Summer ’10 collection. I am also in talks with

Disney with regard to the new Alice in Won-

derland fi lm. There is a lot happening in the

Rupert Sanderson camp.”

So what are we to expect for his Spring/

Summer 2010 collection? “I’ve lightened and

simplifi ed things,” he says. “I think (hope)

the world has tired a bit of the monster plat-

form. Simple, sexy cigarette heels and playful

twists on familiar themes,” will be his focus

for the foreseeable future, echoing a return to

craftsmanship and femininity we’re beginning

to see bubbling up from underneath the foot-

wear insanity of 2009. As Rupert’s designs

continue to gain popularity, we expect noth-

ing less from this young talent than to stay

similarly ahead of the curve.

London scene provides Rupert with the

perfect means to indulge what he calls his

“inexhaustible appetite for the London life.”

However, the origins of his designs remain

fi rm, and he enjoys leaving the city to spend

time with his young family in his half-built

house and factory in Italy.

However, the best is yet to come. Within

the same month as the opening of the pop-up

store in Paris, Rupert is asked to collaborate

with Karl Lagerfeld on the fashion mogul’s

Autumn/Winter ’09 collection, fulfi lling a

dream of many shoe designers. In a post on

his hugely read blog for Vogue’s online site,

Rupert could not contain his excitement fol-

lowing the success of the show: “Back stage

was all you wanted it to be – I even heard him

name check me to a journalist – if anyone

needs me I’ll be on cloud nine.”

So what’s next for this increasingly suc-

cessful designer? 2010 is set to see Rupert

designing once again for Lagerfeld, which he


JewellreyArabia_AD.indd 1JewellreyArabia_AD.indd 1 15/10/09 10:52:1215/10/09 10:52:12

From 17 to 21 November

the halls of the Bahrain

International Exhibition

Centre will glitter with the

finest gems, jewels and

exciting new designs, as

the ultimate industry

showcase in the Middle East returns for a sell-

out show. Held under the patronage of His High-

ness the Prime Minister of the Kingdom of

Bahrain, Shaikh Khalifa bin Salman Al Khalifa,

over 600 exhibitors from 30 nations will reveal

exquisite items at Jewellery Arabia 2009,

ranging from incredible finished jewellery to

luxury timepieces; to precious stones of every

size, shape and cut.

The most prestigious master jewellers and

watchmakers in the world will shine on a floor

area of 18,000 square metres, complemented

by the creative gleam of national pavilions

from leading jewellery export countries, and

the refined sparkle of the Middle East’s finest

retailers and manufacturers.

Despite the current global economic cli-

mate, Jewellery Arabia 2009 has sold out to

capacity as the watch and jewellery industry

looks to the Middle East for growth. To cater

to the high demand, show organisers Arabian

Exhibition Management have commissioned

two temporary halls to extend existing facili-

ties at the Bahrain International Exhibition

Centre for the fourth year in a row.

Jewellery Arabia 2009 will feature a num-

ber of exciting new companies looking to break

into the region, including the first time partic-

ipation of an official pavilion of Malaysian jew-

ellers coordinated by the Malaysia External

Trade Development Corporation. And of

course, the eminent jewellery houses and

watch manufacturers will be making a return

appearance at Jewellery Arabia 2009, includ-

ing Audemars Piguet, Cartier, Chopard, De

Beers, Graff Diamonds, Harry Winston,

Hublot, Patek Phillipe and Piaget, amongst

numerous others.

Many of these exhibiting companies will

once again have an exclusive presence in the

Middle East at Jewellery Arabia, affording up-

wards of 40,000 visitors a unique preview of the

global market.

“Jewellery Arabia’s variety, size and quality

set it apart from other exhibitions in the region.

Designers of unique one-off watch and jewellery

pieces exhibit alongside giant luxury goods

companies, in addition to the multicultural mix

in the national pavilions – where exhibitors

from all over the world exhibit their non-

branded products – and make it such an ex-

ceptional event,” says Arabian Exhibition

Management’s Director of Sales and Market-

ing Fawzi Al Shehabi.

Since its inauguration in 1992, Jewellery

Arabia has firmly established itself as the biggest

and most prestigious jewellery exhibition in the

Middle East, providing international jewellery

houses with unrivalled direct access to trade

buyers and private collectors from throughout

this important economic sector.

Last year’s show attracted over 42,000 qual-

ified visitors. Of the total, 26 percent were drawn

100 Thousand Club104

Jewellery Arabia:

A Sparkling Return

Deborah Najar ed:27Apr 16/10/09 13:29 Page 104



clusive invitation to meet the CEO. There is

one event that everyone attends, which is the

Middle East Watch and Jewellery Awards, be-

cause that’s the one thing that brings all the

brands together. Otherwise, it’s very much

each of us inviting our customers, and not our

competition,” says Najar, in an effort to further

understand their clients’ needs.

“We have very interesting customers in this

part of the world, because they really understand

diamonds, and they’ve probably grown up with

diamonds and probably have quite a collection.

And that’s where De Beers comes in and is able

to maybe offer them the exceptional or maybe

something different for the buyer who already

has everything.” �

`


from the region’s single largest jewellery market,

Saudi Arabia, with significant support also com-

ing from Kuwait, Qatar, Oman, the United Arab

Emirates and other neighbouring countries.

The exhibition’s high quality profile and en-

thusiastic consumer following continues to re-

flect the region’s passion for fine jewellery, which

has succeeded in creating one of the world’s

largest and most dynamic markets.

“It’s the oldest, longest-standing jewellery

fair in the Middle East…the only other impor-

tant jewellery show being that of Qatar, which

takes place in February,” says Deborah Najar of

De Beers, which is a regular exhibitor, and re-

gards the fair as an important tool in its posi-

tioning in the region.

“Our stores in Dubai have been open for

more than three years. Clearly, Dubai is a very

important anchor for the Middle East for any in-

ternational luxury brands that want the presence

in this region. It’s a very easy country to operate

out of, because the government has made so

many efforts to facilitate the formation of foreign

companies in Dubai.”

The brand is continuing its expansion into

Qatar in 2010, via Salam International, which is

devoted to developing the brand for its specific

clientele. Najar’s expertise is in developing

stores towards that customer, which she says is

different in taste and custom than a European or

American customer. “ The Middle East is prob-

ably the world’s largest market for sets, and when

I say a ‘set’, I mean quite a large necklace with

the matching earrings and the bracelet. Whereas

a European woman, regardless of her means,

would not have many of those, in the Middle

East it’s very important. You have wedding sets,

and you have all sorts of jewellery sets for dif-

ferent occasions, and that’s something that we

had to really, really work on to produce those to

satisfy this customer base.”

This cultural importance placed on jew-

ellery translates to a consumer that is, for a fine

jewellery brand, a very unique client. “ I would

say that an American customer would come in

to buy an engagement ring, and it would be a

one-carat. You know, it might be a ten, twenty

thousand-dollar budget, and he would know

everything about the four C’s, but he wouldn’t

have that same experience. These women have

really grown up with jewellery, and they love

jewellery, and they know a lot about it.”

During the show, the brands have an oppor-

tunity to expand on their relationships with these

clients – in addition to the business being

transacted, there are several gala social events

that are a highlight for the jewellery lovers at-

tending. “During the week the exhibition takes

place, the different brands will host events for

their VIP customers. It can be anything from a

ladies-only lunch to a gala dinner to a very ex-



of the north

As our sleek black BMW enters St. Petersburg’s city centre

on a cold Russian morning, the landscape passing outside

the window brought to mind the words of William Faulkner:

“The past isn’t dead. It isn’t even past.” Cruising down

Nevsky Prospect as nearly every visitor to St. Petersburg has before,

sets the scene for the city at large. Planned by Peter the Great himself,

the wide avenues and bridges that crisscross the network of islands that

make up the city are straight and deliberate, with plenty of space for

the grand palaces and monuments that have shaped and represent the

events that shaped this historic city. The main street in St. Petersburg

is marked by the Admiralty building with its tall gold spire on the north

end and the Nevsky Monastery to the south, with the Kazan Cathedral,

the Dom Knigi bookstore (an Art Deco confection that formerly housed

the Singer sewing maching company), the Russian National Library,

monuments to Catherine the Great, and the Anichkov Bridge with its

four famed equestrian statues in between. It’s also the central street

for shopping and restaurants with the Gostiny Dvor, the city’s largest

department store, on one side of the street, across from the Grand Palace

luxury complex.. However, St. Petersburg isn’t a shopping city, its high

prices and limited selection means that most wealthy Russians do their

shopping on vacations in the rest of Europe or America.

That taste of history was enough to get us excited as we pulled up in

front of the block-long Grand Hotel Europe, the oldest and grandest of the

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109100 Thousand Club



hotels in this very old, grand city. The first five-star hotel in the country,

the historic building dates from 1824 including the preserved neo-

classical facade and original Art Nouveau interiors designed by the Italian

architect Carlo Rossi, an architectural legend in St. Petersburg. While

the dramatic entrance hall was striking enough, we were headed for the

Historic Floor and the 10 recently renovated historic suites, which after

an extensive restoration, led by French designer Michel Jouannet, who is

renowned for his work at Hotel Cipriani in Venice, reflect the rich history

of both the hotel and St. Petersburg. The 1,044 square foot suites were

named and inspired by famous Russians who left their marks on the hotel,

either directly, as in the Pavarotti Suite, complete with grand piano, where

the tenor stayed during his final tour in 2004, and the Dostoevsky Suite,

named for the author who was a frequent guest (it’s a corner suite, because

he preferred big windows to watch the crowds outside), or indirectly, as in

the sparkling jewel-toned Faberge Suite, and the Romanov Suite, grand

in purple and gold, where we had the honor to lay our heads. Though

the hotel’s interior, from the palatial L’Europe restaurant to the top-floor

ballroom, is big enough and exciting enough to explore for a week, the

view outside was too good to keep us inside for long.

Within walking distance of the Winter Palace Square is the Hermitage

Museum, the Moussorgsky Opera and Ballet Theatre; the hotel being

the perfect place to set out from for a day of sightseeing. We began by

exploring the theaters and museums of Arts Square and the main Russian

Museum; look for the life-size Pushkin statue that marks the centre of

the square. The house where he lived here has also been turned into a

museum – it housed the city’s other favorite son, Tchaikovsky, for a short

while as well. We next ventured down Kanal Griboedova to the Cathedral

of the Spilt Blood, a classical-style Russian orthodox construction in the

style of St. Basil’s in Moscow, and then into St. Isaac’s Cathedral, the

fourth-largest domed cathedral in the world and an architectural marvel.

A caveat: visiting St. Petersburg is not for the faint of heart or the weak of

stomach. As a royal capital for generations, the history here is alive and

kicking, with every stone and every stream symbolizing something.

The breadth of this truth hit home as we crossed the bridge onto

Peter and Paul Fortress, one of the 42 islands that make up the city

called “Venice of the North. Established by Peter the Great, the complex

has served as a military base, as well as a prison for high-ranking political

prisoners. There is no Russian history without military history, and this

is one place that many central players passed through at one time or

another, all of them at least once as we soon found out. The central

cathedral, one of the tallest structures in Russia, is the burial place of

all the tsars from Peter the Great to Alexander III, as well as the final

resting place of the Romanovs and the family of the last last tsar Nicholas

II, who were reinterred into their own memorial room. After fighting

our way out of the scrum, we went for a walk into the gardens, stopping



Where better to relax the next morning

than on the waterfront? In this nautical city,

a boat tour is an important point of view, and

there are all kinds of boats available for rental,

from the very high-end to private catered

group tours to open boats similar to the

bateau-mouches of Paris. We saw views of the

bridges that were inspiringly beautiful, as well

as the less-exposed and less polished sides of

the buildings that really emphasizes the strife

this city has seen. There are also some local

oddities as the ruins of a massive shipbuilding

factory can be found on a tiny man-made island.

On a clear day, you can take a hydrofoil clear

across the Gulf of Finland, and one popular

destination is Peterhof, one of the summer

palaces. Over 350 fountains on the grounds

take advantage of a naturally-occuring quirk in

the river system here: a mountain spring keeps

them fed and spouting without a single pump

or machine, as it has for hundreds of years. The

beautifully restored rooms include personal

effects of some of the country’s past leaders,

and furnishings that will make you wish you’d

chosen interior design as your profession.

We finished up the night at the

Alexandrinsky Theater for a performance of

to touch the spindly fingers of the statue of Peter the Great, created from

his death mask and said to be his most accurate depiction, for good luck,

overlooking the Gate of Death, which the arch prisoners walked under

before boarding a boat that took them to the Gulf of Finland, where they

were killed and dumped. Luckily, there is a coping mechanism in place

for the weight of all this history, and its name is vodka.

Pectopah is the one word you need to know if you’re hungry in St.

Petersburg. It’s pronounced “restoran,” like “restaurant” with a twist,

and is displayed prominently on almost every eating establishment in

St. Petersburg. The cuisine available varies from Moroccan to European

to Japanese (sushi is the latest craze with the younger set) but for

traditional Russian fare, there are a few experiences a cut above the rest.

Stroganovsky Dvor is a combination of traditional food, new trends and

some concepts that haven’t quite become trends yet, such as inter-table

telephoning. Don’t be confused when you walk into the courtyard of

the Stroganov Palace, past the entrance to the Chocolate Museum, that

large, heated tent filled with statuary that looks like something out of

your last bar mitzvah is, in fact, the café; the location is also a hotspot

at night. If the word “Stroganov” is ringing some bells, you’re correct:

they’re the ones who gave Russia and then the world beef Stroganoff.

However, for that dish we recommend you try the Caviar Bar at the

Grand Hotel Europe: they’re in possession of the family’s own recipe,

a closely guarded gift from the youngest generation, who are frequent

guests at the hotel. The Caviar Bar is also, naturally, in possession of

huge quantities of top-notch caviar, and if you’re a fan, make sure to try

the sturgeon from whence they came as the delicious fish is not available

in the United States. They’ve also recently begun training a vodka

sommelier, to help pair their extensive list of vodkas with your various

courses, a delightful conceit that nevertheless failed to distract us from

the caviar to be consumed. To complete our own vodka education, we

lunched at the Russian Vodka Room No. 1, which is also home to the

Vodka Museum, tracing the history of the drink in the country. We

attempted a trio of shots, and discovered two things the hard way: honey

vodka is often also f lavored with hot peppers, in case you’re looking for

something sweetened, and that curl of white substance on black bread

is not some kind of smoked whitefish, it’s lard. That said, the excellent

blinis and hot borscht more than assuaged our terrified stomachs, and

we more than walked off the heavy stuff seeing at the Western-style

nightclubs. The Royal Beach is one club that has adapted the best and

worst of American nightlife. Creating a distinctly Russian twist, tanks of

baby alligators and bikini-clad gogo dancers made a lively addition to the

scene. For a nightcap, nearly everyone in the city has taken advantage

of the Lobby Bar in the Grand Hotel Europe – the beautifully preserved

Art Nouveau-style space is open 24 hours, and the signature cocktails

are as good as any breakfast.


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MTB.indd 1MTB.indd 1 15/10/09 10:56:1115/10/09 10:56:11


Getting thereThere are connections to St. Petersburg’s

Pulkovo II International Airport (airport code

LED) from most major European cities; we

took the opportunity to try out Lufthansa’s

new business class, complete with priority

check-in, a dedicated boarding aisle

(through a separate door on the plane), flat

seats, plentiful entertainment and meals

prepared through their new Star Chefs

program. We found the business class

lounges to be the biggest enhancement

for our trip as they were stocked and

operational for tired travelers even in the

wee hours of the morning. Entry visas to

visit Russia are required.

Swan Lake, but you won’t lack for cultural options here. The Russians

are, collectively, a nation of balletomanes and opera buffs, and there are

multiple performances taking place every night, including the Kirov

Ballet at the Mariinsky Theater, arguably the biggest and best in the

country. And truly, it was a thrill to see a Tchaikovsky ballet performed

and then to file out into the Arts Square in the shadow of centuries of

artists. They take their high culture seriously here, and it shows.

Any previous visitor to St. Petersburg is probably wondering why we

haven’t mentioned the Hermitage. Beautiful, challenging, unmissable and

inescapable, no visit to the city is complete without it. As any reasonably

worldly-minded person has probably heard before, the warning goes

that you can’t see the Louvre or the Hermitage in one day. And well,

you can’t. Don’t try. There are several special exhibitions going at any

one time, although they’re not always well-advertised, and it’s best to just

pick one or two sections of interest so you have time to enjoy the art and

the interiors themselves. It’s a combination of grand baroque and spooky

decay that just about sums up the indefinable nature of modern Russia.

Engaging a tour guide is an excellent way to make sure you know what

you’re looking at. There are a few extraordinary galleries, particularly the

halls of portraits, which are of great historical as well as artistic value, such

as the Military Gallery, with more than 300 portraits painted from life of

every officer that served in the Napoleonic Wars (blank spaces are left for

officers who died overseas or before their portraits could be paints), and

the White Dining Room, where the Bolsheviks

captured the leaders of the government, which

stands as it did that day, the clock permanently

set to 2:10, when they were overthrown.

We took a stroll through a special exhibit

of French Impressionists (fitting, we thought,

since the Hermitage is in constant and vicious

battle with the Louvre for the largest overall

collection of works) and were unpleasantly

surprised by the conditions in some parts of the

palace. The paintings sat under hazy lighting

on cracked walls, next to windows open to the

humidity and ocean air. The upstairs galleries

where the more permanent collection is housed

are in more standard condition, and some of

the works are super-protected, you can tell the

paintings that have been slashed, attacked with

acid and otherwise damaged over the years

as they are the ones to be found under glass

with a motion-detector alarm. We suggest

you not pay the 15 rubles to be allowed to

take pictures inside, though hundreds of your

fellow visitors will; the experience of being

inside surrounded by centuries of history and

the arts is something you’ll never be able to

capture in the frame anyway.

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SALVADOR ASSAEL_ME7_14oct 16/10/2009 11:53 Page 114

AAs the saying goes, ‘diamonds are a girl’s best friend’, but if a woman

lusts after diamonds then it’s love that she shares with pearls. Accord-

ing to Salvador J. Assael, founder, chairman and owner of Assael Inter-

national, the romance exists simply because pearls are, as he describes,

“nature’s true gem.” Birthed from oysters, the nacreous substance claims

an understated but regal presence that sets it apart from its sparkly, more

contrived counterparts. Its rich history, intimate connection with earth’s

oceanic roots, and long-time love affair with regal dams has made the iri-

descent gem a timeless and alluring luxury.

Although the precious prize has been retrieved and harvested in wa-

ters around the world for over four thousand years, it wasn’t until around

three decades ago that the world met and fell in love with the exotic

black Tahitian pearl. Salvador J. Assael, who humbly describes himself

as, “intelligent, passionate about [his] work and family,” is to thank for

the brilliant introduction.

Not your run of the mill merchant, Assael didn’t simply enter the

jewellery business with a one-track vision for glitz and glamour. A rar-

ity much like the treasures he cultivates, his genuine passion sprouts

from his early days in Italy where he studied ancient history, archaeol-

ogy, mineralogy and gemology. After extensive schooling in all things

earthly, it makes complete sense that the jeweller landed in the pearl

business. “I went into business because of my father. Gemology was my

favorite subject and while working with my family, it helped me under-

stand [things] outside the books and classroom. It made me appreciate

the gems I dealt with and the knowledge I had prior,” says Assael.

Dubbed ‘The king of pearls’, he earned his spot on the throne while work-

ing under the wing of his father James Assael. He remembers how it

started in World War II, around the time Salvador’s father, who was pre-

viously a diamond dealer in Europe, began selling waterproof watches to

American army men. “When the war ended, my father was left with thou-

sands of Swiss watches,” he explains. “The Japanese needed watches

but had no money, so my father exchanged watches for pearls from the

Japanese. He taught me how to barter.”

When asked how the idea of selling Tahitian natural colored culture

pearls was born, Assael fondly recalls being on his yacht, cruising in

Saint Tropez in 1973, when his good friend Jean- Claude Brouillet spoke

with him about a far-flung atoll he purchased in French Polynesia.

“Brouillet raved about the turquoise waters producing black lipped oys-

ters and pearls,” said Assael.

It was during those times that the businessman would fleet back and

forth to his own island, solely accessible via private jet, in the Tuamotu

Archipelago. “I began breeding black lipped oysters there. I [also] used

it as a getaway years ago.” Within the first year, the crops that Assael had

been nurturing and tending came out less than great, unfitting for his

stringent standards of perfection. Undaunted, the entrepreneur recol-

lects waiting for another year, “until [his] harvest produced better spec-

imens. I took several Tahitian strands to my old friend Harry Winston

who, a visionary himself, bought them all hoping to sell a few. He made

magnificent jewellery out of the strands and put them in his fifth avenue

window with an outrageous price tag.” After a short period of time and

a good dose of well-calculated marketing, a black-pearl frenzy started in

New York and spread across the states, clamoring to claim a piece of the

jewel for themselves. Winston was pleasantly surprised at the news that

he had completely sold out of Assael’s once marginalised pearls.

On a business trip to Tahiti, Salvador remembers stumbling across

what he describes as, “A 24mm huge button-shaped pearl that was very


Legend of the Pearl


“I went into businessbecause of my father.

Gemology was myfavorite subject and

while working with myfamily, it helped meunderstand [things]

outside the books andclassroom”



impressive in size but unattractive in colour. As I was inspecting the

pearl, I noticed some layers open in the back and decided to peel them.

The risk was either finding a smaller pearl or completely ruining the

pearl itself, but once peeled it came out that he had a magnificent 22mm

round pearl and sold it for €137 thousand, a hidden gem under the layer

of an ugly duckling.”

In his unwavering commitment to maintain Assael International’s

impeccable taste, Salvador explains how in a potential collaboration he

always looks for, “Integrity, good work ethic, loyalty, experience or ini-

tiative to learn new things.” After serving as Vice President of Sotheby’s

jewellery department for 15 years, Prince Dimitri of Yugoslavia joined

Assael International as Vice President Creative Director in 2003. His

collaborative work with Prince Dimitri, amongst others, was an attempt

to shake things up yet again in the rather traditional world of pearls.

“Their fresher, newer look incorporated diamonds, moonstones and other

gemstones to the look of classic pearls,” Assael explains. “Prince Dim-

itri combined pearls with non-traditional elements such as denim, rub-

ber and wood”.

His pearly numbers have also been the go- to accessory down the

runway, from Balmain to Oscar de la Renta. “An old friend of mine

[Oscar de la Renta] commissioned €17 million worth of South Sea pearl

jewelry for models to wear while showing his spring line,” Assael says.

So, how exactly does an inexhaustible jetsetter stop and relax for just a

moment? “I adore chocolate and traveling to Europe, to Switzerland and

to my homeland of Italy. They have the best chocolate locations; I also

love reading biographies,” he exclaims with a glimmer.

With a lifetime achievement award from Modern Jeweler under his

belt, the Chevalier Dans L’ordre De Tahiti Nui award from the Tahitian

Government, and the atrium at the Gemological Institute of American

named after him, it’s clear that the pioneer has whipped up a delightful

recipe for success. On mixing business with pleasure, he adamantly de-

clares, “If you’re making money doing something you love, it enhances

one another.” Yet, he rejects the notion that he’s an inventor of any sort.

“Someone always comes up with new ideas. There was Thomas Alva

Edison, and then Bill Gates.” However, the mild-mannered gent with an

adventurous spirit doesn’t plan on slowing down any time soon. “I am

still a people person and always have been. I have a young wife, young

family and a dedicated staff that wants to continue my legacy for many

more generations to come!” n

Jeweler Salvador Assael Selecting Black Pearls from Robert Wan,the largest single producer and exporter of Tahitian Black Pearls


100 Thousand Club118

Verdant swaths of wild

green plant life, sur-

rounding stately man-

sions, peaceful lakes

and neighbours strolling

from home to the town

center for shopping and

dining – is it possible that we’re in the Middle East?

For 300 lucky villa owners, this is the new reality of

life at Al Barari: the long-awaited new vision of a to-

tally different kind of life in Dubai. Though the de-

velopment boom brought many things to this city, it

is only natural that the needs of its occupants would

evolve past the architectural showpieces and back to

the homes and families that are, after all, the center

of life anywhere. And so it’s only fitting that the com-

pletion of the project depended on a family effort, as

multiple generations of the Zaal family contributed

to the various stages. Begun initially in 2004, the

project intends to fill a niche that was not being met

by other developers, to build a place where the more

affluent could really call home. “There was one con-

ceptual development but it was mainly plots, and we

thought we had the chance to start something new,”

says Mohammed Zaal, COO of the project.

Born in England and educated both there and

in Dubai, he returned for good after attending the

Royal Military University in England for a graduate

degree and to continue in the Army for a while, but

he was finally lured back into the family business in

the sales department. He sold the majority of the

stock in the Al Barari project and as a result of his

efforts was promoted to COO. His experiences

growing up internationally informed the final vision

of the project in both an aesthetic and experiential

way. “I lived in England for many years, and when

you live in England, you can leave your house, walk

down the street, have your local butcher and baker,

and that’s something we wanted to introduce here,

living in greenery. We also lived in France for a

while,” he says. Their collective experience of home

has continued – his father’s vision was carried out

Hea

MOHAMMED ZAAL_15oct 16/10/2009 11:56 Page 118

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by him and his sister Nadia in the earlier

stages, his mother Leslie served as the interior

designer for the project, as she has for many

other prestigious Dubai homes, and his sister

Camellia is a landscape designer, who con-

tributed her talents to making sure the sur-

roundings outside were as spectacular as the

surroundings inside.

And how they have succeeded on that

front. It’s the first thing everyone notices and

the thing everyone can’t stop talking about

once they’ve seen the place. Lush doesn’t

begin to cover the way the community feels,

and it’s an achievement that the young exec-

utive is particularly proud of. “Personally, the

green side of it, to be able to have all of these

plants, its never been tried before, so we

worked very closely with the government be-

cause we were bringing in plants from coun-

tries all over the world, everything from

cypress trees from Italy to ferns from

Malaysia, so it was really interesting to accli-

matise them and see if they would succeed

here. I think we have a very successful oper-

ation.” While it certainly wasn’t easy to suc-

ceed, the family remained actively invested

in each step of the process, and their devo-

tion paid off. There are over 1,800 species of

plants in the development, more than most

residents of temperate zones will see in their

lifetimes, “and we’re here in the middle of the

desert in this botanical haven, it’s amazing,”

he says. They’ve also created a bit of a cot-

tage industry in Dubai for others who may

wish to follow in their footsteps, creating a

market for the services they needed. “It was

extremely difficult when we realised there

wasn’t really the expertise here, even though

we’re avid green enthusiasts, so we brought

the talent from elsewhere in the world.” They

created a new initiative called Greenworks,

made up of three companies: 2nd Nature

Landscape Design, Sustainable Earth, and

Greenworks Nurseries, responsible for plant

growth and introduction. The three firms


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tackle everything from organic soil materials

and plants to water recycling and are now

branching out to advise others on green in-

vestments and green community develop-

ments. “The landscape design was difficult

from start to finish, and it was easier to do it

in house,” he explains.

Speaking to us just weeks before han-

dover, with the majority of units sold before

the ground breaking, he is optimistic even in

the face of the economy which has so drasti-

cally altered since the project was conceived.

“It’s definitely a primary home development,

I know most of the clients and they’ve all

been waiting for this. Old merchants and

businessmen from Dubai have never had this

opportunity. There are a few clients from

abroad who will use it as a summer home, but

a small minority,” he says, and that stability

will give the project a bridge into the future.

“The whole project was to create a commu-

nity, not just houses and roads on a conveyor

belt, and we decided to concentrate it around

the concept of greening and gardens, unique

living in the desert. You can walk out of your

house and walk to the retail area, to the cof-

fee shop, you know who your neighbours are

and can walk in peaceful surroundings. The

houses themselves are all one of a kind, and

we’re all living in the development ourselves.

We started it because we couldn’t find any-

thing that met our standards,” he says, but

now, looking around at the world he has cre-

ated, they have surpassed even their own ex-

pectations. “We do have various smaller

developments in the area but nothing on this

scale,” he says, and their attention is still

firmly on the Al Barari project. “We don’t

want to overstretch ourselves at this point, it’s

a lot of time and money and we’re all very

hands on, so we’ll finish this one and then

move onto the next.” But for those not lucky

enough to find their dream home in this first

development, rest assured. There are many

new worlds to come from the Zaal family. n


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09-10

DESERT CHALLENGEUAEOctober 1-31, 2009Not just a race for cars, this test incorporates

cars, trucks and motorcycles from all over

the world. The challenges take place over a

fi ve-day endurance test, an apt description

for the driver’s terrain. Set at the Moreeb Hill

bivouac, it is the Empty Quarter within the

course that the competitor’s fear most.

DUBAI BOATING FESTIVALDubaiOctober 24-25, 2009The two-day event is action packed with a

variety of activities for boat lovers of all ages

– a sailing competition, boat displays and a

samba parade can all be experienced. For

the younger boating fans, there is a model

boat race to participate in or the dragon

boats to watch.

ARTPARIS-ABUDHABIAbu DhabiNovember 17-21, 2009The Emirates Palace is more than fi tting to

host this event, showcasing the world’s fi nest

art and antiques. The fair’s mission is to

stimulate dialogue between East and West,

with over 22 countries taking part in the

show of contemporary art. There are also a

series of seminars and exhibitions for great

art discussion and event interaction.

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WORLD CHAMPIONSHIP GOLFDubaiNovember 19-22, 2009Regarded as the world’s most lucrative

tournament only the 60 highest ranking

golfers will be teeing off at the Earth course

located Jumeriah Golf Estates. Designed by

the renowned Greg Norman, it’s the perfect

setting to watch a tournament with an

equally luxuriant prize of $10.

RIYADH MOTOR SHOWSaudi ArabiaDecember 12-16, 2009As the region with the largest automotive

market in the Middle East, the show is

extremely popular with car-lovers across the

region. It is the oldest show, highlighting the

most luxurious names in car manufacturing

from across the world and is expected to

attract around 97000 visitors.

ABU DHABI GOLF CHAMPIONSHIPAbu DhabiJanuary 21-24, 2010Set on the beautiful course at the Abu Dhabi

Golf Club by Sheraton the tournament is

sanctioned by the European Tour and the

UAE Golf Association, providing great

credibility as well as a whopping US$2

million prize fund. 120 players compete for

the ‘Falcon’ trophy over four rounds.

DUBAI TO MUSCAT OFFSHORE SAILING RACEDubaiTBA January, 2010 Starting in Dubai, the offshore race spans

360 miles, endeavoring through the

infamous straits of Hormouz before arriving

in Oman. Almost 20 years old, the race

hosts 30 participants with an ever-growing

watchful crowd, joined together at the

Marina Bandar Al Rhowdha fi nishing line.

FENCING GRAND PRIXQatarJanuary 23-25, 2010A tournament open to all fencers holding a

FIE license, this is a sport truly for the fans.

It is held at Doha’s Al-Sadd Club and Al-

Majilis each January and boasts a total prize

of US$31000. Its organized by the Qatar

Fencing Federation so be prepared to watch

some serious competitors.

DUBAI DESERT CLASSICDubaiFebruary 1-7, 2010The fi nal golf event to fi nish the winter

season, the tournament is held at the

Emirates Golf Club, the fi rst grass course in

the Middle East. The desert terrain provides

a hazardous and challenging course, with

many of the world’s best competing. As

part of the PGA European Tour, winning is

regarded as a momentous achievement.

ABU DHABI YACHT SHOWAbu Dhabi February 25-27, 2010Only in its second year, the show has

had great success, the 2009 event seeing

brokerage sales of over US$200 million. It is

the Middle East’s only show for yachts over

25 metres long, and with considerably more

space for its return, there are many more

superyachts expected to be on display.

Dubai to Muscat offshore sailing race

Art Paris-AbuDhabi

Riyadh Motor Show

Fencing Grand Prix

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