QUINTESSENTIALLY | Insider | Culture

A new heavyweight boat is in town, sliding through the velvet seas with the sun crisp on its back. If you’re a sucker for seaborne chrome and mother of pearl, and like to stand and watch the horizon go dark blue to black, the wind in your hair, champagne flute gurgling in your hand, this beauty will haunt your dreams until you can afford to sit in one. It’s named Azteca – the name as mysterious as the engineering is ingenious – and was revealed earlier this year at the Genoa boat show to an approving sea of black tie jackets and cocktail dresses.

Built by Ferretti’s Italian yachting brand CRN (Costruzioni e Riparazioni Navali), Azteca is the kind of aesthetic masterpiece that would look perfect in a Fellini epic. The owner’s suite is complete with cinema and massage room, the male and female bathrooms screaming luxury in even the smallest noir-ish detail. There’s a balcony over the ocean – the kind you long for after watching Titanic – and then you can step down onto the terrace and there’s even a beach club down on the water’s edge.

Lamberto Tacoli, the master behind the brand, agrees that it’s the careful and exacting design of the boat that assists in inspiring metaphysical contemplation once aboard; there’s luxury, lots of it – owing mainly to the extravagant facilities on board – but it’s the “strong bond with the sea” that makes the Azteca experience worth the money. Indeed: and yet what exactly is luxury in this context? And how does it change as you take to the ocean, leaving the material world behind as a thousand nautical miles of freedom stretch out in front.

Tacoli’s definition? Time. ‘Today one of the real and greatest luxuries is time. Time to dedicate to family, children, friends and pastimes.” A good point. The feeling of having a world away from the world is surely the primary appeal of yachting – having the liberty to pull up anchor, sail away into the sunset, and discover something new wherever you stop next. On land, it is difficult to get away from the hustle and bustle, no matter where you are, but being out on the ocean, with nothing but you, your loved ones and the salty sea spray is perhaps one of the last true escapes this world has to offer.

For more information, go to http://www.crn-yacht.com/welcome.jsp

If I could offer one piece of advice before taking a trip to London’s first major exhibition of René Gruau illustrations, it’s to practice rolling your Rs. I, alas, didn’t manage to perfect the aura of Parisian chic that seems so fitting to Somerset House’s latest display, but I hope I managed to absorb some of Gruau’s effortless sophistication simply by witnessing it. Even fashion novices will recognise many of these iconic drawings and can leave better informed, which is both a gratifying experience and a testament to Gruau’s pervasive influence in the House of Dior.

It was Gruau that Dior entrusted with communicating his vision and who continues to inspire John Galliano’s creations. One of his dresses pays tribute to the illustrator alongside the Dior New Look creations on display. Galliano states ‘to be inspired by Dior is to be inspired by René Gruau’. Indeed, echoes of Gruau’s ‘Flower Woman’ can be found in the delicate florals and enveloping chiffons of the Dior Spring/Summer 2011 collection. The master lives on.

What I enjoyed most about this exhibition was the Eau Sauvage section. This is a rare glimpse at men’s fashion in a major fashion exhibition. Gruau’s taste for controversy and humour are a welcome surprise – it is rare that a fashion exhibition permits a snigger, even rarer that it solicits one.

The curator from Somerset House, who worked jointly with a curator from the Dior Parfum Archives, has cleverly picked out five contemporary UK-based illustrators whose work demonstrates the continuing legacy of Gruau. Fittingly, limited edition prints are on sale so you can take some of the exhibition away with you for your wall at home. I was faintly disappointed that they had not been quite as ingenious with the Gruau designed Dior Christmas cards from the display – I was hoping to have the most stylish seasonal tidings in town this year.

If you have an insatiable love of fashion illustration, get yourself to one of the Somerset House Late Studios, a series of late night workshops where you can indulge in a cocktail or two and create something fabulous to take home with you. Inspired by the Dior Illustrated Exhibition the next three Late Studios offer you the chance to whip up a breathtaking headpiece, fashion your own chic paper doll or turn designer muse as you take part in a life size fashion illustration class.

Dior Illustrated: René Gruau and the Line of Beauty is open daily at Somerset House, between 10am – 6pm, until 9th January 2011.

Some days in London Town it’s hard to make it down New Bond Street without some red lipped, pin curled, mink wearing minxlette uttering the fateful war cry of “oh, it’s vintage dahling.” These girls (and boys) are quite literally stealing the clothes off their grandparents backs and calling them high fashion. But I wonder if these dolly rocker babes and wandering troubadour types fully comprehend the true meaning of Vintage – or if one day their love of the eclectic antique will be banished back to the charity shop from whence it came.

And it would seem that for once I am not alone in my quest to salvage the age of vintage; Lucy Evans and Robert Keylock are two vintage visionaries who, thanks to a chance encounter at the Goodwood Revival in 2007, crystallised their idea of creating the definitive online resource, where you could buy, wear, read and practically eat anything with a vintage or classic twist. Throw in former chairman and chief executive of Goldsmith Group PLC, Jurek Piasecki (who incidentally has a passion for Marilyn Monroe memorabilia, vintage watches and classic cars) and the three joined forces to create the online wonder emporium that is Vintage Seekers.

A brief gander at the site will show you that they deal in all things from wine and furniture, to fashion and memorabilia. Delve a little deeper and you will fall victim to the pages of excruciatingly fabulous items on offer, losing a whole afternoon (which I did) in the process. My personal favourites are the Eames ‘Time Life’ lobby chair (the perfect place from which to plot world domination), and an original costume sketch by Edith Head from the Audrey Hepburn classic film Sabrina – an ideal replacement for my rather tatty Holly Golightly print. And the Pièce de résistance? A white with red leather interior Mercedes 190 SL from which I would step a la Ava Gardner on the arm of my Sinatra-esque companion.

The collection is meticulously sourced from noted international dealers and only features items that are at least 25 years old and no older than 100 years old – the emphasis being on timeless style with not a hint of nouveau vintage in sight.

The Vintage Seekers ethos is ‘desirable, stylish, authentic, often iconic and always original’. Now what better mantra could there be for vintage lovers everywhere to seek by?

www.vintageseekers.com

Oscar Wilde’s 1895 play An Ideal Husband has often been looked down on in comparison to his more famous masterpiece The Importance Of Being Earnest. As a piece of drama, it’s less obviously funny than Earnest, but what it lacks in hilarity (and in places it’s very amusing indeed) it more than makes up for in topicality. The plot concerns an apparently upright politician, Sir Robert Chiltern, who is widely tipped for Cabinet office. He has a loving wife, a louche closest friend in the shape of Viscount Goring and great personal wealth. This wealth, however, was acquired by his selling a state secret, which a figure from his past, the glamorous Mrs Cheveley, attempts to blackmail him with. Drama ensues.

Lindsay Posner’s handsome, intelligent and well-acted revival of the play offers a splendidly classy evening’s entertainment. There’s not much that the superb cast can do with some of Wilde’s more florid dialogue and melodramatic situations, but thankfully they bring a refreshing naturalism to it which tempers some of the innate theatricality of the situation. It helps that the play features some of Wilde’s most celebrated epigrams, including my own favourite, ‘Only dull people are brilliant at breakfast.’

It’s always a joy when watching Wilde to see how the actors cope with the ornate and baroque dialogue, and the excellent cast rise manfully (or womanfully) to the challenge. Samantha Bond as the preening, calculating Mrs Cheveley is simultaneously sexy and rather terrifying, and Rachael Stirling and Alexander Hanson beautifully convey the trials of a loving marriage built, at least in part, on a lie. The outstanding performance however comes from Elliot Cowan as Lord Goring. Cowan sensibly plays the role as an intelligent, highly adept man whose witticisms and posturing are merely safety valves for containing his boredom. He also rose manfully to the challenge of a torn letter the night I saw the play, improvising brilliantly and hilariously. The other great comic highlight is provided by Caroline Blakiston as the dowager Lady Markby, who has an increasingly surreal monologue in Act 2 which just becomes funnier and funnier the longer it continues.

Post Downton Abbey, there seems to be a wide public demand for well-staged costume drama with pointedly witty remarks and venomous put-downs jostling for position. For everyone missing the adventures of the Granthams, this will come as a more than adequate substitute.

Until 19^th February. Vaudeville Theatre, 404 Strand. www.vaudeville-theatre.co.uk

The twinkling row of boutiques on the verge of Sloane Square welcomes a new addition. Ormonde Jayne, perfumery extraordinaire, blending fragrances that many women now swear by, puts the flag in the pole above 192 Pavillion Road, joining neighbours Tiffany’s, Cartier & Links of London.

Ormonde Jayne is all about sophisticated luxury, using speciality oils rarely used in the perfume industry today. Some say that the exotic vapours lend themselves well to the more mysterious woman (and man) whose sense of self is inextricably linked to their signature scent. The brand was born when Linda Pilkington – creator and owner of Ormonde Jayne – was asked to create the ‘perfect scented candle’; the project became a passion, and an inspired new vision of creating the ‘perfect scented body’ resulted in a breathtaking range of perfume. This independent, confident spirit is behind the successful growth of the company and its logical move to this highly coveted Sloane Square address. When Linda cast her eyes on the smoked glass and the antique gold shagreen walls at this very spot, she fell in love, and decided on impulse that this would be their new home, adding to the existing flagship boutique in Old Bond Street and an impressive presence in Harrods’ prestigious Fragrance Hall.

The new flagship store – designed by Caulder Moore – is a dreamscape of different aromas. Particularly enticing is the opportunity to discover the real ‘you’, a kind of psycho-sensory-analysis that takes you on a trip towards your perfect signature scent. The Portraits consulting table, exclusive to the Sloane Square address, is an expert led service offering clients the chance to breathe in 21 different raw materials, with or without blindfold (excellent for focusing concentration) before receiving their personally selected liquid emotions in a beautifully presented bottle.(If booked in advance, the Portrait can be accompanied by Champagne and truffles).

New must-haves for the festive season include the ‘Navidad Christmas Candle’- perfect for unwinding in the bath at the end of a long stressful day with its sensual notes of amber, cardamom, Tonka and mandarin. Then indulge your senses with a generous veil of the divine Orris Noir or Ta’if scented ‘Gold Crème’ for that perfect London shimmer and prepare to wow the crowd in that new cocktail dress.

‘There can be little doubt that Linda Pilkington’s boundless inspiration as the founder of Ormonde Jayne and her constant quest for perfection are inextricably linked to the success of her brand and a full blown British perfume Renaissance’ Nathalie Grainger, Perfume Expert

Ormonde Jayne Perfumery in Sloane Square
192 Pavillion Road
London
SW1X 0BJ

After having visited the Turner Prize this year, I left somewhat under-whelmed. The Prize, which has been taking place annually for over 25 years, organised and staged at Tate Britain, has always been considered controversial and cutting-edge. It’s often associated with conceptual art, and has become the most publicised art award in the UK. This year, however, it seemed to throw up things I’ve seen before (some of which I had seen before). So saying, there is little shock value this year. That, however, does not mean it wasn’t good or that there isn’t any value on offer.

The four artists nominated are Dexter Dalwood, The Otolith Group, Angela de la Cruz and Susan Philipsz – with the winner announced on 6th December, 2010. The idea behind the prize is to present the most ‘current’ visual art being produced by young British artists (they have to be under 50).

My favourite works by far are Dalwood’s canvases. His paintings are visions of vacant spaces – they create an emotion through something missing or absent. He makes paintings of monumental places, often that he has never seen himself. His works include stark political sentiments whilst often appearing to be simple landscapes. His painting The Death of David Kelly presents a tree in the moonlight, but the title suggests this could be the location where the body of British scientist David Kelly was tragically found. Visually, the paintings are extremely aesthetic but the underlining politics, stories, and mysticism add a quality which makes it difficult to look away.

Susan Philipsz work, Lowlands, also deserves a mention. The actual art work comes after anticipation and intrigue is built up; you walk from room to room, and the walls are lined with a grey felt. What you realize when you enter the last room is that these are to control the acoustics, as her work is completely sound based with nothing in the room but speakers, and a bench to rest on. She sings ‘Lament for a drowned love’, which is a 16th century Scottish song, resulting in a hauntingly beautiful exposition.

While the works in this year’s Turner Prize are generally strong, I think I was underwhelmed because it wasn’t dripping in controversy and shock. Instead, it presented a series of pieces that each in their own right deserve to be in the Tate. I do recommend seeing it for yourself, and then hearing about what you think.

Turner Prize on until 3rd January 2011, Tate Britain, Millbank, SW1P 4RG

Super Design has been heralded as the ‘most important and innovative’ expo at the big Frieze this year. Inside Victoria House, leading galleries showcased what they believed were exemplary masterpieces of modern design art.

At first, I was slightly skeptical; champagne flute in hand, I simpered beneath chandeliers named ‘Digit Superball’ and ‘Digit Linear’ – orbs of Murano glass that seemed pretentious at best. There was the ‘Newspaper Shade’ by Michael Young – 10,000 pieces of newspaper folded together. My inner-eye died; this was a shade of art as mundane as it was confident, as obtuse as it was difficult to fabricate. Starting to show signs of annoyance, I happened on the ‘Threefold’ light, a Mobius snake of aluminium with the unique quality that light glazes across it without ever crossing an edge – seductive, and yet peculiarly unimaginative. After a few more flutes, I figured that this exhibition, curated by gallery owner Patrick Brillet, was an ingenious medley of dysfunctional magic shapes that needed a childish, poetic sensibility to truly appreciate them.

And so I forsook the cynical gaze, and soon reflected the animated, excited hues of my more than charming confidante. Perhaps it was her excitement that did it, but soon I was seeing light through the fog. I walked into another room, looked up, and two massive illuminated sockets glinted with a mercurial vapour. Marcus Tremento’s ‘Plug Light’- courtesy of The Apartment gallery – is inspired by French Pop comics from the 60’s, a formalist manipulation of 2D and 3D imaging that exaggerates size and form to spellbinding effect. Then there was Mitterand-Cramer‘s Facet Moon Table’ by Parisian designer Arik Levy – a utopian cut of stainless steel that dances across the eyes, fragments of the whole room reflected in a beautiful geometric frieze.

Outside Victoria house, the limpid rays of a full moon guided our footsteps to Carpenters Workshop where another light show was in progress. ‘The behaviour of objects’ is Random International’s first solo exhibition, a lesson in the uses of digital technology to create tension and surprise in our rapidly evolving environment. Devised by Stuart wood, Flo Ortkrass and Hannes Koch, the first three works I happened on – ‘triptych’, ‘self-portrait’ and ‘swarm’ – are significant, intelligent, and leave traces across the imagination akin to a melancholic piano melody. With ‘self portrait’, the installation engages you with an ephemeral representation of yourself. Once you step away, the moment – the art work – vanishes. My thoughts were such; that life is not a work of art, and that each waking moment passes, and cannot be revived.

I left that room with more urgency, but found that when I stepped back out onto the street, even the moon had disappeared.

Random International are at Carpenters Workshop, London until 13th November.