beautiful dinner arrangement
beautiful dinner arrangement

Since 1829, Champagne Bollinger has been making gwines, expressing the aromas of the fruit in all its dimensions.

James Bond’s champagne house of choice released the latest iterations of its new top-end champagnes amid glitz and glamour in Paris. Masha Nosova secured an invitation

The evening took place at the Bucherie in the Latin Quarter, originally an amphitheatre for medical students in the 17th century.

The cuvees served were La Grande Annee and La Grande Année Rose 2015. Bollinger uses oak barrels for fermentation, unusually for champagne, which creates richness, weight complexity and depth A tangible connection to this legacy was brought to life as Gaël Chaunut, the in-house head cooper, demonstrated the centuries-old art of barrel-making, a process as intricate as it is timeless.

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man with champagne glas

Charles-Armand de Belenet is the managing director of Maison Bollinger

The themes of ‘wood’ permeated throughout the evening, from the meticulously crafted canopy of 9,500 paper pieces, reminiscent of a forest, to the exquisite gastronomic journey curated by Two Michelin-starred Chef Olivier Nasti, masterfully incorporating elements of nature into his tantalising creations and transporting us on a journey of flavours. His venison tartare with Osciètre caviar and citrus ice with petals complimented effortlessly alongside La Grande Année, while the tender game of Alsatian hunts presented with a colourful quintuplet of sauces, found its perfect match with La Grande Année Rosé 2015. A mystery wine, which later revealed itself as the Grande Annee 1989 was paired with a 28 month aged Comte.

Read more: A tasting of Drouhin’s fine Burgundies

beautiful french house

The Maison Bollinger event took place in a beautiful house in the heart of Paris

Champagne-bollinger.com

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sports car on road at sunset
sports car on road at sunset

Aston Martin DBS Superleggera Volante

In the first of our supercar reviews, we take one of the world’s fastest convertibles for a spin: the Aston Martin DBS Superleggera Volante

What is the purpose of buying an expensive fast car? The manufacturers themselves have had plenty of focus-group conversation over glasses of Krug at owner events; and so have we at our own gatherings of friends and readers.

Two-seater fast cars generally fall into one of two categories: super sports cars, created to be able to go around a racetrack as fast as possible while remaining legal and reasonably comfortable to drive on the road; and what the industry calls grand touring cars, which can be just as powerful but are biased more towards comfort, theoretically for crossing continents.

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The two categories are bound together by looks – all of these cars are designed to garner attention – and indulgent, hedonistic design. In reality, not many people use cars from either category for the purposes they were designed for. You are as unlikely to take a multi-million euro Ferrari LaFerrari on a race track as you are to test your gold Rolex Submariner at the oceanic depths for which it is designed. And if you want to cross the continent in comfort, you will jump in a jet, and ensure your car is waiting for you at the other end, rather than endure traffic jams and police speed traps.

Which brings us to the Aston Martin DBS Superleggera Volante. This is a car that looks as exotic as it sounds: long, wide, sculpted and slightly brutal. It is not a show-off car like, for example, a Lamborghini, which is guaranteed to get the whole street looking at you; nevertheless with the primordial roar of its engine and its sheer presence on the road, it is a car that tells everybody around that you are here, and that you have made it.

Convertible car interiors

It is also the most powerful regular production Aston Martin, a significant statistic in itself. Get in and steer it down the road, and it doesn’t feel quite as wild as the horsepower figure, which at 715 is around five times that of the average car, might suggest. The steering is superb, with feel and sharpness. Some cars in this category have so much engineering to manage their enormous performance, that the sensations of driving are dulled. Not in the Aston, the noise and handling of which immediately let you know that you are driving something very special. It feels sharper, more alive, and more connected than the previous generations of powerful Aston two-seaters, while remaining comfortable and civilised enough not to shake you around, and that alone should guarantee it some loyal customers trading up.

Read more: Gaggenau presents new series of super-sleek combi-steam ovens

But it is also very much a grand touring car. You don’t feel that every prod on the accelerator will send you hurtling over the horizon and off the edge of the world, as is the case with some supercars these days. The DBS works through its rev range a bit more like a V12 engine of old, gaining speed with momentum, despite having distinctly new tech using turbochargers to aid its power delivery. To appreciate what you can do properly, you need a long stretch of road, ideally with a Mediterranean beach café at the end. Put your foot down, feel the car gathering pace relentlessly as the engine sears towards its redline. It’s a supremely satisfying feeling, and slightly old school with its delayed gratification. It is not a car that tries to handle like a go-kart with a rocket on it. Its pleasures need discovering slowly. But it certainly has a hard, supercar edge to it.

Nobody buys one of these for comfort and practicality, but it does reasonably well on both. There is plenty of space for two in the front, and some shopping bags on the back seats; only a masochist would want to actually sit in the back, although we did fit one teenager in with their legs across both back seats and the roof down. They had a whale of a time.

In an era where cars, even at the very high end, have never been better, but also have never been more similar in terms of engines and general engineering, the Superleggera Volante (Volante just means convertible in Aston speak) has two things that make it distinctive: character and class. You can buy faster cars for the money, and flashier cars, but James Bond circa 1966, teleported to today, would recognise immediately that he was driving an Aston as soon as he shut the door and hit the start button. Priceless.

LUX Rating: 18.5/20

Find out more: astonmartin.com

This article was originally published in the Spring 2020 Issue.

 

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Cinematic still featuring a bottle of champagne
Bollinger event with men in suits

Michael G. Wilson & Etienne Bizot from the Bollinger Family at Hotel de Crillon, Paris

Last week, Champagne Bollinger celebrated the 40th anniversary of its partnership with James Bond with a special event in Paris and a new limited-edition release

On Thursday evening last week, Champagne Bollinger welcomed the producer of the James Bond films Michael G. Wilson as guest of honour in Paris to celebrate the brand’s 40-year partnership with the legendary film series. Hôtel de Crillon played host to an exclusive list of invitees in celebration of the partnership, which dates back to 1979, when Bollinger became the official champagne of 007 upon the release of Moonraker.

Cinematic still featuring a bottle of champagne

The character Jaws opening a bottle of Bollinger R.D.1969 in Moonraker

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Champagne gift set with luxury silver box

The Moonraker Luxury Limited Edition by Champagne Bollinger with a gift box designed by Eric Berthes

Following a speech by Bollinger’s chairman Étienne Bizot, the brand launched its latest release ‘The Moonraker Luxury Limited Edition’ complete with a space-shuttle shaped gift box designed by Eric Berthes and inspired by the shuttle originally created by production and set designer Ken Adam. Guests enjoyed a first taste of this 2007 vintage against a backdrop of design sketches and stills from the Moonraker film.

Find out more: champagne-bollinger.com

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Léa Seydoux, the French star who’s conquered Hollywood and is the new face of Prada Candy, speaks to Caroline Davies about childhood, perfume and Nietzsche

Screen Shot 2015-03-28 at 18.29.20

Serious yet joyful, sleek yet dishevelled, Léa Seydoux is an elegant enigma. The actor is one of only three women to have won a Palme d’Or, has just been announced as the next Bond girl and is also the face of Prada Candy perfumes. Following the recent launch of the third fragrance in the series, Prada Candy Florale, and ahead of her role in 2015’s dystopian love story The Lobster, alongside Colin Farrell and Rachel Weisz, Seydoux spoke to us about her journey to the silver screen.

LUX: Were you a quiet child? Was acting an obvious path?
Léa Seydoux: Absolutely! I was a quiet child, but that is precisely why I decided to be an actress. I wanted to counter my shyness. As a child, I dreamed that I would become an opera singer; I don’t think I was predestined to have a quiet life.

LUX: Do you put your past experiences into your performances?
LS: I’m convinced there are no rules to follow when becoming an actress. Every path is personal. Learning from our own story is quite logical, as we have to put a bit of our life into the character played. However, it’s not always enough. Role- playing also involves being able to imitate reality.

LUX: How has your character in the Candy adverts evolved?
LS: Candy’s evolution is linked to the evolution of the fragrance. She has always been a very colourful and original character; she’s a very impulsive young woman who does what she wants, when she wants. I think that in the first film, directed by Jean-Paul Goude, Candy was more spoilt and rebellious, but now she’s grown up a bit and is more rounded as a character. With Prada Candy Florale, there’s a greater sense of freedom, lightness and sensuality that comes across in a sophisticated manner.

LUX: You’ve said that you find it difficult to be light on screen. How do you find the lightness to play less tightly wound characters like Candy?
LS: Candy is bold and light at the same time. It’s the contradiction that I find deeply interesting. That is what I drew upon when embodying that character.

LUX: Why did you want to work with Prada on this campaign?
LS: Prada is a brand that I’m particularly fond of; I feel very close to the spirit of the House. It’s a very singular brand, and very audacious.

LUX: What is your current fragrance?
LS: Prada Candy, of course! I love wearing fragrances. I use many of them. In general, I look for perfumes with a strong personality and lots of originality.

LUX: Does the perfume remind you of anything?
LS: The first time I experienced Prada Candy Florale I was pleasantly surprised. You feel like you’re being taken on a voyage into a world of flowers, a world that is in full bloom in spring.

LUX: How do you prepare for a role? Do you prefer directors who take control or leave you to find your own path?
LS: I really appreciate stage directors who are always attentive to characters but, more broadly, I can’t say that there is one better way to guide actors. Generally, I prepare myself in different ways; it depends on the role I am playing.

LUX: How do you view Hollywood in comparison to French cinema?
LS: There is a real and deep cultural difference between Hollywood and French cinema. Hollywood cinema makes me think of great epic stories and entertainment, while French cinema is based much more on realistic and intimate stories. French people are at the origin of the auteur film industry. “ose very peculiar specificities make both Hollywood and French films unique and complementary.

LUX: How do you choose a script?
LS: For me, the director choice is crucial as he is going to lead everything.

LUX: What is the best piece of advice you have ever heard about life and about acting?
LS: “Become what you are” – Nietzsche. It is the best piece of advice for both life and acting. It means that you have to look for your talent and then continually improve it. We are constantly evolving and changes in our life have a real impact on how we are going to play a role and vice versa. Today, I’m not the same actress or woman that I was yesterday.

prada.com/candy-florale

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