Arnold & Son Ultrathin Tourbillon Koi where Bespoke Handcrafts meets watchmaking

Lifestyle / yachtstyle2020

Arnold & Son Ultrathin Tourbillon Koi where Bespoke Handcrafts meets watchmaking

November 4, 2020
9:37 am

Arnold & Son is highlighting its tradition of bespoke watch creations, offering them the chance to personalise its collections. In an unprecedented gesture, customers can apply substantial changes, making a case, movement or dial unique through engraving, gem-setting, miniature painting or sculpted elements.

Can there be a more restrictive ‘canvas” for an artist, much less a sculptor than the dial of a timepiece? The mother-of-pearl dial of Arnold & Son Ultrathin Tourbillon Koi and its delicately placed hand-painted carp and sculpted lotuses surrounding a flying tourbillon, would certainly prove a challenge but not one that would stymie the Citizen Group’s Swiss brand: Arnold & Son presents the Ultrathin Tourbillon Koi, a delicate unique piece that blends fine watchmaking and the artistic crafts.

Arnold & Son perpetuates the legacy of 18th century English watchmaker John Arnold, a contemporary of Breguet in the pioneering field of marine chronometers and precision tourbillon escapements. The ultrathin A&S8200 tourbillon movement is among the twenty calibres presented to date by Arnold & Son to have been conceived, developed, and decorated by sister Manufacture, La Joux-Perret. Moving into the creation of bespoke commissions, the creativity of the House is best exemplified in the Ultrathin Tourbillon Koi.

Bespoke Handcrafts meets Watchmaking in
the Arnold & Son Ultrathin Tourbillon Koi

Arnold & Son draws on the vast possibilities presented by the calibre A&S8200, briefly the world’s thinnest tourbillon, by tapping on the artistic majesty of age-old techniques like enamelling, miniature painting, cloisonne and champleve. The Ultrathin Tourbillon Koi.showcases a broad spectrum of House skills within a red-gold case measuring 8.34 mm thick, capturing the dynamism and serenity within a few millimetres of “canvas”.

Depicting two carp gliding between lotus blossoms, Arnold & Son deftly combines traditional watchmaking with artisanal crafts to fulfil the wishes of its clients with the bespoke and unique Ultrathin Tourbillon Koi. A Tancho carp, recognisable thanks to the large red mark on its head, swims on the right-hand side of the dial, accompanied by another koi in shades of white and orange gracing the other side of the dial adorned with hand-sculpted and painted lotus flowers.

A symbol of perseverance in the face of adversity, Koi are a popular theme in traditional Japanese art and inspire tranquillity. The three lotus blossoms which accompany the carp have petals cut from silver and shaped, before being engraved, polished and painted in dazzling white lacquer. Each flower’s pistil is formed separately using the same techniques, then the two parts are combined, replicating incredibly life-like sculptural interpretations of the East-Asian floral motif.

The carp and lotus leaves, meanwhile, are painted by hand using incredibly thin brushes that allow a wealth of details to be added, such as scales, barbels and striped fins. The base of the dial is made from blue-toned mother-of-pearl, its iridescent shimmer evoking the water in which this charming scene unfolds.

Arnold & Son Bespoke Creations: Beauty meets sophisticated mechanics in the Ultrathin Tourbillon Koi

The 2.97 mm thin calibre A&S8200 still puts the Arnold & Son Ultrathin Tourbillon Koi within reach of the all-time records for thinness in this category surpassed recently by the Octo Finissimo Tourbillion. The movement displays the hours and minutes in an off-centred dial at 12 o’clock. At 6 o’clock, an aperture reveals a tourbillon whose construction is special in more ways than one.

The gravity compensating escapement of the Arnold & Son Ultrathin Tourbillon Koi is of the ‘flying’ variety, meaning that it only has a lower carriage bridge. Since the top is not held in place, a few precious millimetres of height can be saved, thus freeing up the view of this timekeeping mechanism. The balance, meanwhile, is off-centred from the carriage axis, creating a dynamic visual impression as the tourbillon rotates. Another distinctive feature is the balance bridge, which is domed and extends slightly from the dial, ensuring that the rest of the movement is unaffected by the total height.

Arnold & Son is highlighting its tradition of bespoke watch creations, offering them the chance to personalise its collections. Customers can apply substantial changes, making a case, movement or dial unique through engraving, gem-setting, miniature painting or sculpted elements.

NEW ARNOLD & SON ULTRATHIN TOURBILLON KOI PRICE & SPECS

Movement Manual winding calibre A&S8200 with 90 hours power reserve
Case 42 mm red gold with 30 metres water resistance
Strap Leather
Price CHF 89,000

Tunku Khalsom’s Highly Emotive and Artistic Creations Stem From An Appreciation For Life and Joy

Lifestyle / yachtstyle2020

Tunku Khalsom’s Highly Emotive and Artistic Creations Stem From An Appreciation For Life and Joy

November 4, 2020
2:13 am

Tunku Khalsom is revered for her work which exudes fluidity and stunning colour, whilst embracing the concepts of ‘Life, Love, and Change’.

As a self-taught abstract artist and Interior Architecture graduate of Malaysian and British descent, Tunku Khalsom is revered for her work which exudes fluidity and stunning colour. Embracing the concepts of ‘Life, Love, and Change’, Khalsom incorporates bright and bold colors which evoke different emotions, whilst having the power to alter mood and thought. With work displayed in the homes of private collectors across Asia, the USA, and Greece, Khalsom has also exhibited her work at the Affordable Art Fair Singapore and the Asian Art Platform Gallery, and is currently working on her latest collection alongside a series of private commissions.

Tunku Khalsom’s Highly Emotive and Artistic Creations Stem From An Appreciation For Life and Joy

ONLY ONES WHO KNOW, 90×90 cm Mixed media in acrylic | Black wood frame

You were born in Malaysia, you studied in the UK, you now live in Singapore. Where do you call home?

Probably one of the most difficult questions I get asked. I was born in Johor, Malaysia, to a Malay Father and a British Mother, but grew up in KL with my 3 brothers. All our holidays were spent on our family resort on Pulau Rawa, an amazing little island on the South East of Malaysia. It’s a really special and important place that has been in my family for a few generations.

l moved to the UK when I was 17 and spent 8 years there living in London and then Brighton, where I went to University. Then after a couple of years back in KL I moved to Singapore. That was back in 2010. So where is home?? I don’t know, I have so many homes. All of these places hold a special place in my heart, and I don’t feel like I belong to just one of them. And who knows… there might be more in the future!

Your family is in the Hospitality business, you graduated with an Interior Architecture degree. How have these backgrounds and studies influenced your art?

Ever since I was quite young, I always painted and put my artwork up at the resort. It was never very good, pretty awful in fact, and it makes me laugh now because my mum still has a lot of the pieces in her home. I grimace every time I see them, and tell her to stop hoarding, but she keeps them still.

As embarrassing as it is now, I see it as part of this long journey which has got me to where I am, a journey that I probably didn’t even realise that I was on until now. I don’t think that I’ve ever actually considered that I have been “exhibiting” my work for the past 20 years till this moment! That’s wild.

My background is in Interior Architecture, and I have worked designing hotels and resorts for years now, I feel like it has helped me to understand spaces as a whole, and in relation to my art, it has helped me learn composition and balance. When working on commissioned pieces, it can help if i know what the room the art is going in looks like, to see if I can pull in any colours or elements from the room into the piece.

I love that art is the perfect way to bring a space together. My design style is very much, ‘simple base with crazy accessories.’ It’s the same with my home and the way I dress. Dress in black, live in colour. hah.

SkullflyPink 90 x 90cm

Let us know more about your fascination for both skulls and butterflies which are recurrent features across your creations?

Butterflies have been following me around since I was 16 and got my first tattoo. I’ve always found them to be so effortlessly beautiful, which is the dream in my mind. Since then I have discovered that they have a dark side, I’m not going to get into it because it’s actually pretty gross, but you can look it up. I like the idea of being a surprise, and being unexpected, of having grit to your story. I love them for that.

As we already know, butterflies are a symbol of change, of metamorphosis, and combined with the skull you’ve got life, death, change and love, all the things that we experience in life.

Also I just think that they looking f*cking cool together.

120 x 120cm mixed media on wood.

You have been using bright and bold colours in your art. How would you describe your style?

My style is quite chaotic, there is a lot of texture and movement in my pieces. The textures I use are rough and gritty, they have cracks and crevices, textures that may normally be considered ugly, or broken, that combined with lots of colour! I’m obsessed with colour, how one bleeds into the other, how contrasting colours go so well together, how random combinations can totally surprise you. I love to see what happens when you layer colours and textures, and you are never completely sure what you’re going to get.

For me the brighter and the more colourful, the better, but I am learning to balance that out with darker and more neutral colours. In my art I’m looking for beauty in the chaos, beauty in the imperfections.

SkullfkyGrey 90 x 90cm

You have today collectors around the world, in Singapore, Malaysia, London, Brunei, Australia, Greece and in the US. What does such recognition mean for you?

It means the world to me that people want my art in their home, it’s such a special feeling knowing that a piece you created is bringing a smile to someone’s face everyday, what a privilege. I really just want to fill the world with colour and chaos.

TWO MINDS 120 CM Dia. Mixed media on wood board

The five words that describe best your art?

BRIGHT, BOLD, CHAOTIC, CAPTIVATING, COLOUR.

Any artist that has lately inspired you on the British art scene? Your views on Damien Hirst?

I am loving Nat Bowen, she’s a wonderful artist, her resin pieces have such rich vibrant colour and countless layers that create this amazing glow. They are pure joy to look at.

Sue Arrowsmith is another amazing British artist, she paints these incredible large scale detailed plants and flowers on bright coloured or metallic panels. They are enchanting.

Damien Hirst… King of skulls and butterflies, how could I not love him. Some of his pieces over the years, have been “interesting” to say the least, but you can’t not be in awe of someone who has created such a career through art. His work is so diverse that he has influenced the work of so many different artists, and what they are creating. Don’t they say that imitation is the sincerest form of flattery.

‘No Place’ 50 x 70cm Mixed media on wood.

What is the role the artist plays in society?

Artists are historians of the time, capturing everything from current affairs to the most current colour, and the most current medium. Little pieces of now encapsulated on the “canvas”. Artists bring feelings to a space, they provoke thought and emotion through their work, they bring colour and life and joy. Or they just provide something bloody great to look at!

NEON PINK 90 CM X 90 CM Mixed media on wood board | Acrylic edges

When and where can we expect to see your next solo exhibition?

Good question.. I’m not sure just yet, Covid has thrown a spanner in the works on that front, but there are a few things on the drawing board for the rest of this crazy year, so please just watch this space.

‘No Rain’ 120 x 120cm Mixed media on acrylic

Where can we see some of you work online, are these for sale?

Instagram of course, where you can see what I am currently working on, as I do it. There are process videos and detail shots of my pieces. I also have my own website, which has all the finished and available artwork on it.

I am also represented by Addicted Art Gallery here in Singapore, and by Art Beyond Borders in Paris, they both will carry exclusive works. And yes pretty much everything is for sale!

You were right’ 50 x 70cm Mixed media on wood.

You accept commissions. What is the working process there? How specific – or not – should a commission be?

Yes I do a lot of commission pieces. Clients can let me know their size and colour preferences, and styles of mine that they particularly like, and then we go from there.

There is always a lot of pressure with commission pieces as I want to make something that the client wants and will love. The client usually has an idea of what they want in their mind, which of course you can’t see, so it can be really hard. Communication is key! Then from then on a level of open mindedness is needed, but I really stress like crazy until they’ve seen it and love it.

‘Beyond’ 165 x 90cm Mixed media on wood.

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?

I don’t have one specific mentor, but I do have a couple wonderful wonderful people that have helped me along the way. They’ve always been there no matter what, always pushed me and encouraged me and challenged me. They have endured hundreds of photos of crappy paintings and insane ideas, and never complained. Haha, it may have been hard to get a non biased critique out of them, but I am so thankful nevertheless. Thank you, thank you, thank you, you know who they are.

–

Tunku Khalsom is currently contactable via email or Instagram, with more info available on her website.

Anton Afganial Presents His Uniquely Energetic Depictions of The World

Lifestyle / yachtstyle2020

Anton Afganial Presents His Uniquely Energetic Depictions of The World

November 3, 2020
4:39 pm

Through vivid colors and bold outlines, Anton Afganial is revered for his ability to tell stories of of everyday life, without words.

Anton Afganial is a prize-winning artist based in Indonesia, who has exhibited his works nationally, as well as in China. Through blending his in-depth knowledge of natural occurrences and social dynamics, with an opaque technique of vivid colors and bold outlines, Anton Afganial is revered for his vibrant portrayal of everyday life.

Anton Afganial Presents His Uniquely Energetic Depictions of The World

You were born in 1990 and you are now established in Jogjakarta which can be considered as the art capital of Indonesia. Tell us more about your first steps as an artist?

I was born in an island called Madura. In Coastal environment and strong culture. Once upon a time I was told that the famous Indonesian artist Affandi had painted on our beach and this was the beginning of my curiosity about painting. Besides that, since I was a child, I was very interested in sketching and coloring activities. This was the beginning for me to enter the Indonesian Arts university with a major in fine arts.

Your art is vibrant with vivid colours! Would you say this is a modern reinterpretation of traditional Indonesian Batik?

Many viewers of my work think that the strokes I make on canvas resemble the patterns or nuances of Batik, which are known as traditional Indonesian patterns. I don’t think that is wrong. Only I form the lines and colors that dominate my work which is the result of the combination of my life background from the Madurese people who like vibratory and bold colors and my tendency to make curved lines and shapes.

You are always looking for new techniques in your art. How would you describe your style?

Mostly i’m using opaque techniques in my work. Where the vivid and intense colors were mixed up a lot, then lines were made to emphasize the object or deformation that i created on the canvas.

At the beginning of my work, i first define the shape and then emphasize it by giving colors. However, my technique in the last few years has mostly prioritized the distinctiveness of colors that stand out and take up space in our visual vision, while the lines are only a way to emphasize the deformation and wildness of the dynamics of the existing colors. Even some of my recent works no longer use lines, just “flying colors”.

What is your creative process like? Where do you find your inspiration?

In my artistic process, i am intuitive, spontaneous and experimental. Where i try to reflect a moment or curiousity to enable final refinement and completion of idea.

Because my first experience in the arts began when I was in college, so I was influenced by the academic learning process and the experience of contemplating during college. I read and discussed a lot at that time. after graduation, I started looking for new specializations to enrich my inspiration.

I am often moved by the situations that are happening around me. Such as human conflicts, love, balance of nature and technology, identity to culture. My painting always capture energy, enthusiasm, emotion, contradiction, and curiosity.

Which is the role the artist plays in the society?

The artist uses them work as a “lens”. the artist’s ability to capture the “gestures” of nature, society and even his own contemplation into what is called “art”. They are able to bring people to experiencing an unusual and unique things. Artists providing experience of curiosity, history, phenomena and even science.

Any current or past Indonesian artist who has influenced you?

I was inspired a lot by the famous Indonesian artist, Widayat. His works greatly influence my artistic process, especially the formation of flora objects, landscapes and their dynamics.

How do you view the current art scene in Indonesia? How important is the space given to artists in modern Indonesian society?

Previously, appreciation for artworks in Indonesia was mostly enjoyed only by the rich. Besides the number of artists was also small. the situation is very different from now where art connoisseurs can be from any circle. there is also great interest in art. The number of artists is also large along with the growth of art-based schools and campuses in this country. However, there are still very few room facilities for exhibitions or for selling their works. This makes it seem as if the work of art is still considered less important and living life as an artist opens up a promising way to earn a living.

The five words that best describe your art?

Energy, Nature, Human, Culture and Love.

In which city can we expect to see your next solo exhibition?

I plan to have two solo exhibitions next year in Jogjakarta and Jakarta

Where can we see some of you work online, are these for sale?

You can view my latest work on my Instagram account, or on the online art gallery, Singulart with a search for the name: Anton Afganial

All of my uploaded artworks are for sale.

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?

One of Indonesia’s most famous artists: Entang Wiharso.

Once upon a time I learned from him about starting life as an artist. At a very young age I was given the understanding that being conscientious is not only about encouraging anxiety but also how we find answers to many questions. that the language of art will be the same for all humans and that there is no border to separate art and human race. Besides that, I got answers about my doubts in the way of my life as an artist.

–

Contact Details:

IG handle: @afganial_

Phone Number: +62 812-2719-2579

Email: mafganial@gmail.com

Eric Schmidt Makes Montecito’s Historic Solana Estate His New Home

Lifestyle / yachtstyle2020

Eric Schmidt Makes Montecito’s Historic Solana Estate His New Home

November 3, 2020
8:47 am

Having cycled through more agents than one can count, the Solana estate finally meets its match.

Host to the Centre for the Study of Democratic Institutions from 1958 to 1978, Montecito’s historic Solana estate graces and then exits the market, just as quickly as it appeared. Purchased with an extranomical price tag of $30.8M – who else could afford such palatial beauty amidst a pandemic, other than, Eric Schmidt, the former chief executive of Google, and his wife Wendy Schmidt.

Eric Schmidt Makes Montecito’s Historic Solana Estate His New Home

Having periodically listed and retreated from the market since 2012, the Solana estate has cycled through more agents than one can count, and is referred to as one of Montecito’s most original “hilltop Barons”, spanning across over 11 acres of private land. Initially listed for an estimated $57.5M, the residence which overlooks Santa Barbara, was built around 1915 for Frederick Forrest Peabody, the chairman of the manufacturer of the Arrow shirt.

Boasting 360 degree views of the Pacific ocean, the glow of Santa Barbara city lights and the Santa Ynez Mountains, the Solana estate accommodates five bedrooms, nine full and six half-bathrooms, alongside a private hair salon, and custom-designed Pilates room. Equipped with sub-zero appliances and decorated with Carrera marble countertops, the estate’s vast kitchen is lined with antique tile panels imported from Portugal, and vintage Moroccan lanterns. Made from blue pine salvaged from a pre-WWI Canadian airplane hangar, the kitchen is topped with beamed ceilings, a variety of other intricate details.

Designed by architect Francis T. Underhill, this 22,000-square-foot estate on 256 Eucalyptus Hill Drive, showcases 17th -century French oak paneling originally designed for a British castle, in the guest reception area, the Solana estate is littered with breath-taking architectural elements, including a Gladding McBean terra cotta glaze and original white Alabama marble. Bordered by nature, the estate’s grounds are highly fertile, giving bloom to a multitude of palm trees, lemons, limes, bananas, figs, and pomegranate plants.

With oversized French doors and grand loggias, the Solana estate is worth every dime it demands – and after a prolonged eight years on the market, the residence has finally met its match. Since serving as the chief executive of Google from 2001 to 2011, and later the executive chairman of the brand’s parent company, Alphabet, Eric Schmidt eventually stepped down in 2019. Currently chair of the US Department of Defence’s Defence Innovation Advisory Board, and co-founder of the Schmidt Ocean Institute, a nonprofit foundation established to advance oceanographic research, Mr. Schmidt is now worth an estimated $17.6 billion – and is precisely the sort of owner the Solana estate deserves.

The $243K Ferrari Portofino M Invites Drivers To Rediscover the Brand

Lifestyle / yachtstyle2020

The $243K Ferrari Portofino M invites Drivers To Rediscover the Brand

November 2, 2020
9:40 pm

Featuring the legendary ‘M’ suffix, for Modificata, in its name, the new and improved Ferrari Portofino boasts a slew of advanced technical and design features.

Ferrari Portofino M

Featuring the legendary ‘M’ suffix, for Modificata, in its name, the new and improved Ferrari Portofino boasts a slew of advanced technical and design features, such as an eight-speed dual-clutch gearbox and a five-position Manettino. Regarded a highly revolutionary build, the Ferrari Portofino M invites drivers on a voyage of rediscovery.

Replacing its original seven-speed gearbox, its engine’s design is based on dual-clutch oil bath architecture with a 20% smaller clutch module and a 35% higher torque delivery. Through evolving the car’s transmission software strategy with an increasingly dynamic ECU, the introduction of an eight gear proved to not only be efficient and but significantly reduce fuel consumption in urban and motorway contexts. As a result of new cam profiles and an additional speed sensor on the turbocharger assembly used to measure the turbine revolutions, the Ferrari Portofino M’s power unit is capable of punching out 20cv more (620cv) than its predecessor.

Underscored by a slash on its front bumper that flows into the flank design, the all-new Ferrari Portofino M showcases intricate visual harmony, leading from the front, all throughout its sides and unto the rear. With a multi-level dashboard comprising of an upper half and an intermediate gap designed to light the perceived mass of the lower half, the Ferrari Portofino M interior has allowed designers to rationally organize its in-car devices whilst simultaneously defining its signature full-width architecture.

Utilizing padding of contrasting density and an ultra-compact seatback profile, the Ferrari Portofino M seating are a product of innovative magnesium structures, aimed to provide ample rear seat room, and three-level ventilation through adapting to the speed, temperature, and airflow of the outside world.

Ferrari Portofino M | Designed to the Next Level
The Ferrari Portofino M: A Constantly Evolving StoryThe Ferrari Portofino M, which features the legendary 'M' suffix, for Modificata, in its name, is the evolu...

Ultimately, the Ferrari Portofino M is stacked with impressive functions, the most notable include, Rear Cross Traffic Alerts which warn drivers of moving obstacles hidden in the car’s rear blind spot whilst reversing, a Predictive Emergency Brake System intended to alert drivers of potential collision risks whilst readying the car to lessen the consequences of a frontal impact, and Lane Departure Warnings which provide acoustic and visual alerts that the car has strayed out of its lane. Worth an estimated $243K, the Ferrari Portofino M is expected to debut on the market in late Spring 2021.

New 2020 TAG Heuer Carrera: A pedigree closest to the original 1963 Carrera

Lifestyle / yachtstyle2020

New 2020 TAG Heuer Carrera: A pedigree closest to the original 1963 Carrera

November 2, 2020
1:53 am

Celebrating a major milestone like a 160th birthday requires some introspection. The new Carrera Chronograph traces the original Carrera’s journey rather than re-treads familiar territory

There’s something about a birthday. It’s your day, you’re feeling special, it’s also a time for grown-up reflection: Who is this “you” that’s being celebrated? Celebrating a major milestone like a 160th birthday requires some introspection. TAG Heuer’s approach to such a momentous occasion heralds the arrival of a new flagship for its new era: the new 2020 Carrera Chronograph walks in the footsteps, but never re-treads the journey of young Jack Heuer and his inspired leap with Heuer Carreras in the 1960s.

For veteran collectors with a passing recollection of vintage Heuer Carreras, the aesthetics are similar enough to pass, at least from a glance, as hereditary descendants of the original but for newcomers, it’s a great chance to understand the origins of the “OG” Carrera as well as see how the model developed over the decades. Suffice it to say, the new 2020 TAG Heuer Carrera Chronograph is a product of its age – sufficiently modern, reflecting its contemporary aesthetics while remaining remarkably respectful of its heritage that it doesn’t come across to cynics as “yet another re-issue”.

New 2020 TAG Heuer Carrera: A pedigree closest to the original 1963 Carrera

The TAG Heuer Carrera is in many ways the classic TAG Heuer watch. It all started with the Heuer Carrera introduced in 1963 by Jack Heuer, and it’s great historic irony that for a namesake (and a flagship chronograph), the Carrera was discontinued by Heuer in the early 1980s. The introduction of the Carrera was a defining moment for Heuer Leonidas, S.A. and its young scion and future president, Jack Heuer.

Following watchmaking traditions of the era, Heuer’s collections were initially known (like many others) by their reference numbers, the nomenclature of using the names of dangerous rally races and cross-continental drives was a masterstroke from the young Heuer and the Carrera and its namesake association would drive a desire for chronographs even from a segment of the market who didn’t think a chronograph was altogether necessary. Carrera, then, was quite likely the first “lifestyle” watch and after its reintroduction as one of the brand’s foundational collections, has been quite often, the next rung on a collector’s wishlist after their initial introduction to the brand’s entry level Aquaracer during their teenage years.

Portrait of a Modern Heuer Carrera

In 2010, TAG Heuer introduced the Calibre 1887 Carrera chronograph; five years later, the Heuer 01 Carrera chronograph, and just this year, the reference has been enhanced with two more models – the Carrera Sport Chronograph in July and the 2020 Carrera Chronograph today. While its difficult to editorialise the context for the Carrera Sport Chronograph and the 2020 Carrera Chronograph in any meaningful way (since brand executives themselves won’t give you an answer), let’s just say that for the average collector, the key difference is the lack of a tachymetre bezel, the sport variant has one, while the Carrera chronograph presented today, is closer in terms of aesthetic pedigree to its ancestor.

Therein lies the elegant sophistication of this reinterpreted TAG Heuer Carrera, its sleek stainless-steel bezel designed without a tachymeter scale is true to the unforgettable silver-dial Heuer Carrera originally launched in 1963 (and then re-issued as a limited edition just after LVMH’s inaugural Dubai Watch Week).

Available in opaline black or sunray brushed blue, anthracite and silver, the dial features “azurage” subdials at 3 and 9 o’clock and a running small-second counter at 6 o’clock above a discreet date window. The beating heart of this new 2020 TAG Heuer Carrera Chronograph is the brand’s proprietary Calibre Heuer 02.

The models with black and blue dials are presented on a streamlined H-shaped stainless-steel bracelet. The angles of the outer and inner links are rounded for a more fluid appearance and the bracelet is thinner for improved comfort. The bicoloured version with a silver-coloured dial and rose-gold-plated hands and the model with a deep anthracite dial are paired with a handsome brown alligator leather strap. The screw-down sapphire caseback provides a fascinating view of the innovative movement inside, made even more exclusive by its rose-gold-coloured oscillating mass.

2020 Heuer Carrera Chronograph Price & Specs

Automatic Calibre Heuer 02 with 80 hours power reserve
Case 42mm stainless steel with 100 metres water resistance
Strap Bracelet or Leather
Price US$5,550

Available from October 2020

Creator of The Line Rhythm Series, Dodit Artawan Rebelliously Shatters Our Capitalist Illusions

Lifestyle / yachtstyle2020

Creator of The Line Rhythm Series, Dodit Artawan Rebelliously Shatters Our Capitalist Illusions

November 1, 2020
12:15 am

With an all-new Rhythm Series, Dodit Artawan’s alcohol bottles and Barbie dolls are the perfect pairing of fine wine and good steak on the table of consumer capitalism.

Put your hands in the air 150x200cm oil and acrylic on canvas 2012

By the lyrics of Aqua’s 1997 chart-topping hit single Barbie Girl, “life is plastic, it’s fantastic.” More than two decades later, Indonesian artist Dodit Artawan is here to put a dent on that proclamation with his photorealistic paintings.

Creator of The Line Rhythm Series, Dodit Artawan Rebelliously Shatters Our Capitalist Illusions

Born in 1978, Dodit underwent his studies at the Indonesian Art Institute in Denpasar, Bali. As a student in Fine Arts, his exposure to styles and practices outside the conventions of Balinese art forms further propelled him into the epicentre of what the Taxu Art Clinic defined as a reluctance on the part of the Balinese art praxis to deviate from its traditional identity.

Barbie Martini 200x200cm oil on canvas 2011

Balinese art has its initiation rooted in Hindu-Javanese origins that developed from the works of Majapahit Kingdom artisans and expanded to Bali in the late 14th century. It remained largely untouched by western influences until post World War Two. Even so, the fundamental aspect of its resemblance to baroque folk art with tropical themes still distinguishes a piece as something uniquely Balinese.

Pool Party #1 150x200cm oil on canvas 2011

Dodit understood then that his adoption of excruciatingly detailed photorealism had no place in the resolute and narrow nature of Balinese traditions, and even more so when his subjects are unabashedly glaring in addressing the distortions of consumerist culture on the island. As lamented by the artist, “Just because I am from Bali, it doesn’t mean that I have to paint like those pictures on postcards for tourists.” On the other hand, his artworks seem to exude a certain sense of Beverly Hills vibrancy accredited to his fascination with the alluring designs of consumer-product packaging. Dodit recounted to us how he would tour the neighbourhood on his bike as he scoured the stores and their shelves for the latest trends and pop culture references that he could adopt into his compositions.

Surfer Girl 150x150cm oil on canvas 2014

Perhaps it is the sheer size of Dodit’s paintings that draw his viewers in, or it could have been his peculiar choice of having empty alcohol bottles and Barbie dolls as his subject matters, but one thing for certain is that the recurring imageries of these objects in his series are immediately reflective of his distaste for the hedonistic Balinese lifestyle. The excessive consumption of alcohol by the residents of Bali has been a plague of health issues for the longest time. Coupled with the touristic provision of pools and bars that accommodate to the middle-class patrons, the lack of control on alcohol consumption further becomes a question of ethics when underaged teenagers have an unimpeded access to purchase alcohols in stores. While the heaps of alcohol bottles are illustrative of his concerns, what seals the deal with his pieces in their entirety are the lewdly clad, Mattel-manufactured plastic Barbie dolls which are often associated with an extensive spread of social controversies – the perfect pairing of fine wine and good steak on the table of consumer capitalism.

Exotic Cocktail #2 150x150cm oil on canvas 2013

Riding on the success of a solo exhibition in Hong Kong and a number of group exhibitions in America, Indonesia, Italy, Japan, Malaysia, and Singapore, Dodit already has the eyes of many collectors from all parts of the globe trained on his photorealistic works. Yet, acting on his disposition to create and not settle for the humdrum of success, he was prompted, back in 2015, to expand on new elements that involve contrasting the illusion of depth and volume with two-dimensional flatness. In 2018, he furthered into the domains of rhythmic line art that bears the reminiscence of Pop Art. Nonetheless, alterations to his style do not skew him away from his fetishism of objects, especially those of industrialised mass production. “The fetish attitude reveals how the contemporary society often becomes irrational simply because they want to have fun, and the world of capitalism gladly provides the fantasies attached to their products,” explained the artist.

Pool Party #2 150x200cm oil on canvas

It is rather probable that we as consumers are lost amidst the sieving through of our “needs” and “wants”, and Dodit’s rebellion through art is a beer bottle to the back of our heads which shatters such illusions that we hold so dear to survive this capitalistic rat race.

Plastic Age no.5 150x280cm paint marker and acrylic on canvas 2019

Keep up with Dodit Artawan’s artistic evolution and his all-new Line Rhythm Series through his Instagram page.

High performance meets High art in Maserati x Cyril Kongo GT4

Lifestyle / yachtstyle2020

High performance meets High art in Maserati x Cyril Kongo GT4

October 29, 2020
1:53 am

From dropout to working with global icons Airbus, Hermes, and Chanel, Kongo takes to his latest “canvas” and sexes up a competition legend Maserati Granturismo GT4

It’s an understatement to say that Cyril Kongo’s art is expressive. In 2016, a collaboration with Richard Mille saw the international street artist transform his namesake RM 68-01 Kongo Tourbillon into an unprecedented work of art. Abstract yet avant-garde, his contemporary work is infused with street culture, boasting layers of heavy contextual expression. Kongo’s most recent work sees him move from a mechanical microcosm to something a little bigger in scope: a Maserati GT4.

Maserati X Kongo
This is "Maserati X Kongo" by byflycom on Vimeo, the home for high quality videos and the people who love them.

High performance meets High art in Maserati x Cyril Kongo GT4

The Maserati x Cyril Kongo GT4 is the latest in the street artist’s universe of graffiti. From high school dropout to working with global icons like Airbus, Hermes, and Chanel, Kongo aka Cyril Phan, would never have figured out that his work would sell today for sums up to €15,000 per square meter, nor imagined that the graffiti he painted on the streets of Paris would become famous beyond French borders.

From graffiti unknown to cultural super star, the self-taught French-Vietnamese artist has never forgotten his roots but heritage which drives his visual identity lives on a legacy of high profile vehicular installations like the custom painted plane that landed on the famous Champs Elysees Avenue in 2018, or the 1983 Rolls-Royce Silver Spur for the Doha Art Fair in 2019 and now, his unbridled joie de vivre and optimism in a bespoke Maserati GT4.

It’s hard to imagine, but It’s been 10 years since Maserati introduced the race-spec GranTurismo MC for the Trofeo World Series and the original Maserati Granturismo GT4 is driven by a V8 engine designed by Ferrari for the F430. By 2015, no fewer than 10 teams placed orders for GT4-spec for use in the championship.

Designed to compete in the GT4 European Cup series, the 433-horsepower machine was conceived for circuit race domination thanks to tight, responsive steering and some serious straightline speed (north of 187 mph). Even in 2020, the default Maserati Granturismo GT4 enjoys a combination of eye-catching looks, hair-raising performance, and brand cache, but it is Kongo who adds his magic touch to the Maserati x Cyril Kongo GT4, elevating it from high performance vehicle to sculptural performer on wheels.

New Octo Finissimo Tourbillon Chronograph is Sixth Record in Six Years

Lifestyle / yachtstyle2020

New Octo Finissimo Tourbillon Chronograph is Sixth Record in Six Years

October 27, 2020
2:38 am

Fusing its vivacious Italian soul with the technical expertise of Swiss watchmaking, the new Bvlgari Octo Finissimo Tourbillon Chronograph brings unprecedented development to an industry that is broadly playing it safe

Bvlgari continues to shift the paradigm of modern watchmaking with its sixth World Record: the New Octo Finissimo Tourbillon Chronograph. The skeleton tourbillon chronograph is the latest in the saga of Bvlgari’s penchant for exceptional horology, this time, building upon it’s last feat – an ultra thin Chronograph GMT and for 2020, developing a self-winding ultra-thin skeleton monopusher tourbillon chronograph.

“2020 is the year of the World records at Bvlgari with this new ultra-thin Octo Finissimo Tourbillon Chronograph Skeleton Automatic. It is the 6th World record in a row for Octo Finissimo. We already launched last January in Dubai Serpenti Seduttori Tourbillon, the smallest ladies watch Tourbillon on the market which complements Diva Finissima Minute Repeater, the thinnest chiming ladies watch available on the market. Complication and records are without genders at Bvlgari!” – Jean-Christophe Babin, CEO of Bvlgari.

New Octo Finissimo Tourbillon Chronograph is Bvlgari’s Sixth Watchmaking Record in Six Years

Adding a sixth watchmaking record in six consecutive years is nothing short of prodigious, especially when one considers the relative youth of Bvlgari as a fully integrated manufacture in an industry spanning centuries. From the first model launched in 2014, the Bvlgari Octo Finissimo been a showcase platform of groundbreaking records in thinness and horological complication and a commercial success as well.

At 7.4mm, the latest Octo Finissimo Tourbillon Chronograph Skeleton Automatic is an unprecedented combination of complications in such ultra-thin proportions – it is simply the Le Sentier manufacture’s know-how distilled into one potent watchmaking emblem and a re-affirmation of the Finissimo’s pre-eminent position as this generation’s premier sports luxury watch.

Launched during the Geneva Watch Days, the 42mm Bvlgari Octo Finissimo Tourbillon Skeleton Automatic is an openworked, monopusher (yes it looks like it has two buttons) chronograph tourbillon movement with a 50-hour power reserve, ably provided by the 3.50mm thick calibre BVL 388. this is the flattest tourbillon chronograph wristwatch ever made, there is simplu no equivalent including these horological complications in the market within such a reduced thinness while still delivering high horology features such as a horizontal clutch and a column wheel.

From the first model launched in 2014, Bvlgari Octo watch has built a saga of groundbreaking thinness records. But beyond those successive prowess’s, Octo Finissimo has reset the codes of watch design to become a new cult watch model.

Where the Bvlgari Octo Finissimo Tourbillon Chronograph Excels

To comprehend this technical accomplishment, one needs to consider the milestones before this latest world record: the Octo Finissimo Tourbillon’s BVL 268 is 1.95mm thick; however, it is a hand-wound movement. The Finissimo Automatic’s calibre BVL 138 is at 2.30mm and currently the world’s thinnest self-winding movement.

Keep in mind, that sandwiched between these accomplishments, is the fact that Bvlgari managed to figure out creating the Octo Finissimo Tourbillon Automatic’s BVL 288 movement with the same thickness as the hand-wound Finissimo tourbillon. By introducing elements like a peripheral rotor which swivels in the same level as the movement plate itself and using a flying tourbillon which doesn’t require an extra tourbillon bridge, the easiest way to develop an automatic Octo Finissimo Tourbillon Chronograph like what Bvlgari has done for 2020 is to literally add a chronograph module upon the existing BVL 288 – but that would be a totally inelegant, brutish solution, incompatible with the Italian brand’s sophisticated ethos.

What Bvlgari has achieved in the calibre BVL 388 of the Octo Finissimo Tourbillon Chronograph Automatic is essentially include all the elements while using a traditional rather than a flying tourbillon hence the presence of an upper bridge. Peripherally geared (as visible from the gear teeth on carriage) rather than via a lower pinion, it is from the tourbillon escapement that Bvlgari has organised the rest of its components, including a column wheel device which manages chronograph functions, around rather than on-top in a sandwich-style architecture – it’s ingenious really, since the lateral clutch is flatter than the vertical clutch, the clutch lever of the chronograph rests beside the tourbillon, on the same plane as the movement plate.

Bvlgari: Roman Jeweller of Time?

For the longest time, editorials surrounding jewellers who also have a hand in haute horlogerie have often had to answer questions on whether [insert brand] can be considered a legitimate watchmaker. Such questions stem from a place of provenance, given the centuries of history rather than as true investigation into whether a brand truly knows how to make watches. Where Bvlgari has carved its niche is a special one: having established itself as a master of L’Estetica della Meccanica, fusing its vivacious Italian soul with the technical expertise of Swiss watchmaking and mechanical movements and in doing so, it has led its own revolution in watchmaking, uniting cutting-edge aesthetics with technical mastery in a way that is utterly unique to the brand.

The Octo saga, and the continuation of the story with yet another world record breaking Finissimo, highlights the exceptional nature of Bvlgari: the new Bvlgari Octo Finissimo Tourbillon Chronograph is an example of what arises when technical mastery is joined with an unbridled visionary approach.

This $90M Full-Floor Aerie Is New York City’s Most Expensive Home For Sale

Lifestyle / yachtstyle2020

This $90M Full-Floor Aerie Is New York City’s Most Expensive Home For Sale

October 26, 2020
4:23 am

Located on Park Avenue between 56th and 57th Streets, 432 Park Avenue is not only the tallest residential tower in the Western Hemisphere, but home to a lavish, 8,000 square feet aerie.

Merging two adjacent units on the 82nd floor to form a lavish aerie spanning an estimated 8,000 square feet, these conjoined apartments hang more than 1,100 feet above ground. Located on Park Avenue between 56th and 57th Streets, 432 Park Avenue is the tallest residential tower in the Western Hemisphere. Designed by Rafael Vinoly, this extraordinary 96 story tower rises 1,396 feet, redefining the Manhattan skyline, as the apartment’s increased footprint boasts a large primary office, a personal assistant’s office, a laundry room, a palatial main bedroom suite with two enlarged dressing areas, two bathrooms and a dedicated ‘shoe room’.

This $90M Full-Floor Aerie Is New York City’s Most Expensive Home For Sale

Fully equipped for both remote work and luxury living, the residency features abundant natural light and spectacular views of Central Park, the Hudson and East Rivers, Atlantic Ocean, and many iconic Manhattan buildings and avenues, through expansive 10 feet by 10 feet windows, with additional centrally controlled climate, media and security systems.

Complete with an interior conceptualised by renowned architect Deborah Berke, all residents are treated to 30,000 square feet of prestigious amenities, including a lounge, private restaurant, outdoor terrace for dining and events, 75-foot indoor swimming pool, fitness centre and spa with sauna, steam, and massage rooms, library, billiards room, screening / performance venue, conference room, children’s playroom, yoga studio, in-residence dining and room service, concierge, 24-hour doorman, onsite parking garage and valet services provided by the building staff.

Showcasing a sweeping southwest-facing great room, and a separate eat-in kitchen and 12-and-a-half-foot ceilings, these $61.9 million renovated apartments are now worth at least $90 million, with two separate, smaller and negotiable condominiums by the same owner, available on the 29th floor for an estimated $4.67 million.

The Collectibility of Whisky proven in Bonhams sale of Yamazaki 55-Year-Old

Lifestyle / yachtstyle2020

The Collectibility of Whisky proven in Bonhams sale of Yamazaki 55-Year-Old

October 23, 2020
3:37 pm

Whisky is becoming ‘liquid gold’, reflecting its growing status as a collectible asset that appreciates strongly in value due to its rarity

Wiping out an estimated 100.8 million travel and tourism-related jobs worldwide, the ongoing Covid-19 pandemic has effectively brought the industry to an abrupt standstill, currently accounting for a mere 10% of global GDP. Hitting the Asian Pacific region the hardest with an approximate 63.4 million jobs lost, many cling to fleeting hopes of a potential vaccine capable of diminishing this fatal disease. However, while the outbreak may inevitably end, innumerable reports have suggested the tourism industry may take up to 10 months, or longer depending on each individual nation’s restrictive measures, to recover from the heaviest economic blow yet.

New Normal Experiential Luxury Travel

Chambre Séparées

Beyond disrupting the international flow of medical supplies and other essential needs, the disastrous pandemic may change the way civilians work, live, and play, long after the dust settles. Whether it’s short getaways reachable by car and on foot, or opting for an increasingly isolated accommodation, much of our newly acquired social distancing habits are here for the long-haul.

The Hialeah Park Casino

With everything from restaurants, cinemas, casinos and the Las Vegas Strip shuttered up for lockdown, businesses aren’t left with any other choice but to adapt their operations, facilities and marketing strategies to a demographic of highly unnerved and health-conscious consumers.

Haris Rashid’s Art Begs The Question, “Is There Any Humanity Left?”

Lifestyle / yachtstyle2020

Haris Rashid’s Art Begs The Question, “Is There Any Humanity Left?”

October 21, 2020
5:52 pm

Revolving around ideas of human atrocities, Haris Rashid showcases wild and endangered animals exhibiting human characteristics.

An artist by blood, Haris Rashid began his journey at a young age, and was encouraged by his mother who at the time, was his school’s art teacher. Since obtaining a diploma in illustration from The One Academy, Rashid has continued to develop his visual language, by not only experimenting with various mediums and surfaces, but in establishing and working collectively with Studio Mekar. His current work which revolve around ideas of human atrocities, showcase wild and endangered animals exhibiting human characteristics. His work thus probes spectators to wonder whether there is more humanity to be found in his animal subjects than in mankind itself.

Haris Rashid’s Art Begs The Question, “Is There Any Humanity Left?”

The Final Form 2016 (244x122cm), Mixed media on wood panel.

You are now 28 years old, born in Kedah province (Malaysia), raised in Damansara and you actually started painting and drawing from a young age. You even used coffee to paint portraits and landscape, which is rather unusual. Tell us about your first steps as an artist?

I was definitely influenced by mother who was an art teacher. Therefore I was exposed to art from a very young age but I never thought to be an artist myself. I still thought of more conventional careers because I saw first hand how challenging it can be to be a full time artist and I wanted myself to be stable.

Pray I 2017, 90x60cm, Acrylic on canvas 2017.

Have floral and animal patterns commonly used on textile fabrics influenced your art?

I have always been inspired by floral and animal patterns, there is a connection with nature that I find irresistible. Studying illustration, I was drawn to art movements like art nouveau , impressionist painters and ancient paintings from Egypt, China and Turkey and incorporate them in contemporary settings.

Sun bear 2015, Mixed media on wood.

You have a deep fascination for wild animals and wildlife. Your latest artworks embody the idea of animals exhibiting human characteristics. You actually coined the concept of “Humanimals”. What message do you wish to convey there?

The animal series “Humanimal” was actually done in 2016. At the time Humanimal was an exploration of the similarities or differences. I used the animals as metaphors of the human condition. Animals act on instinct , whilst humans can be clouded by expectations and politics. I am interested in the natural world because it is the purest of forms.

As years pass, my work has evolved to nature and human forms. I am constantly using metaphors and symbolism in my work to convey my own narratives that include self discovery, spirituality and Malaysian culture.

Mural 2019 at Toppen Shopping Centre, Johor, Malaysia.

In your art, you are experiment with various mediums and surfaces: canvas, wood, textured pressed paper, and even plastic. What is your selection process when creating an artwork?

Yes I love experimenting with different materials in my work. Typically the medium will be decided after I come up with the concept and the look I want to achieve. I’m always finding new ways to create my art pieces to keep me on my toes.

Pakai Buang 2019 Watercolor, color pencil and plastic on paper.

Are there any current or past Pop Art artists who have influenced you?

I see myself as pop surrealist artist. I am influenced by artists like Frida Kahlo and Guztav Klimt. I am also influenced by current artists like James Jean ,Mar Ryden and Andre Salgado.

Coffee Art live painting at Le Meridien, Kuala Lumpur.

How do you view the current art scene in Malaysia? How important is the space given to artists in modern Malaysian society?

The scene I would say is improving with more and more new talents and shows going around. Though we still have a long way to go, to have more people to be aware of art in Malaysia, I am hopeful for the future. It is very important to give more space and opportunity to the art scene in Malaysia and to spread it out to more rural areas and have it become accessible to the masses.

Evolution series, wood panels, mixed media. 2019, Group exhibition at Badai Art Studio Yogyakarta, Indonesia with Artemis Art Gallery.

You have had a tight relationship with Artemis Art Gallery from your very first steps as an artist. How important has been the gallery in your developments and promotion?

I started initially through opening bazaar and booths selling my artworks and prints for 3 years. Then I started my first solo exhibition with Artemis Art Gallery in 2015. Yes it has helped me tremendously to pave my way as a full time fine artist. As an artist that did not study Fine Art , Artemis Art Gallery has helped me exhibit overseas as well as, open my eyes to the possibilities.

Haris Rashid 2019, Nocturnal color pencil and acrylic on paper.

Tell us more about the purpose & mission of Studio Mekar (Artist Collective) which you founded?

Studio Mekar was founded by me to initially have group exhibitions. It then evolved into a platform to help upcoming artist regardless of age and experience, giving them an opportunity to exhibit and meet other like minded people. It is also used to talk about our journey and struggles as a support system to navigate through the art scene. The collective itself is organic and is project based. I am always open for proposals and ideas to collaborate. It is important for me that artists support one another.

Details of Art installation called “Nature?” 2019 Young Contemporaries(BMS) at Balai Seni Visual Negara.

The five words that best describe your art?

Colorful , symbolic , nature , floral, wild.

In which city can we expect to see your next solo exhibition?

I will be having my next solo exhibition this coming November in Zhan Art Gallery, Jaya One, Petaling Jaya.

Where can we see some of you work online, are these for sale?

Yes some works are for sale through my website or via Instagram.

Haris Rashid, Survive 2018, 80x80cm, Acrylic on canvas.

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?

Honestly I couldn’t name one constant individual, but I have always been surrounded strong figures and inspiring artists that we inspire and push each other. My mentors are collectives.

–

For my information, Haris Rashid is contactable via Email @ hrydin@hotmail.com or through his website.

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