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AUTUMN 2009I sea& iI81 masterartisan and she will say that it is to be told that Louis XIII is " the same as it ever was". To most craftsman this would probably be a damning response to years of hard work, but here it is warmly received and pays testament to the skill involved. Perfection has already been met, so the task of improving on this has been made redundant. And there is something very comforting in this. In industries around the world, luxury products, although unique and revolutionary in their own time, will at some point become dated and replaced by the new and improved. A prod-uct that once represented the pinnacle of success will lose its gloss when something better comes along. This is the joy of a bottle of Louis XIII; you know that it is at its very best and it always will be. There will never be any need to add to it, or trade it in for the newer model; so whether you want quality reassurance or just guaranteed pure drinking pleasure, what more could you wish for? If Louis XIII truly is the King of Cognac, long live the king! ¦ For more information on the range available from the House of Rémy Martin, or to enquire about a customised tour of the estate, please visit www. remy. com KEYNOTES OF A CENTURY The maturing aromas of Louis XIII through the ageing process ? 5- 10 years ( 65% alcohol): refined vanilla notes; floral blossom; peach ? 15- 20 years ( 55% alcohol): figs; dried apricots; spicy notes of clove and cinnamon ? Over 40 years ( 47% alcohol): notes of port wine and nutty, mushroom accents ? 70 years ( close to 42% alcohol): waxy and nutty with a ' cigar box' aroma Under 40% proof, the brandy can no longer be classed a Cognac.

82Isea& iIAUTUMN 2009 Above ( from left): Simon Rowell and Dickie Bannenberg T wenty- eight months would seem like an eternity to most infants, but for one particular baby, recently christened Natori, the time raced by. No one is more conscious of this than her designers: Dickie Bannenberg and Simon Rowell. As they reflect on their recent accomplishment, they appear to have the relaxed demeanour of men confident their interior design work on this 41.8m ( 137') masterpiece will exceed all expectations of anyone spending time aboard. But they're creative souls, these two, and as they relive the experience of exacting their requirements upon shipyard, suppliers and client, frowns and gritted teeth fleetingly return. Here lies the anguish for top designers in the superyacht sphere: the pressure of a fast project never relents. " One tends to be presented with: ' Love to hire you. Love your work. Oh, and we need the first drawings in six weeks,'" says Bannenberg, chuckling. " The yard already had the exteriorenvelope defined, so we were scooped up with the project up and running." The owner was someone Bannenberg and Rowell relished working with. He is, they say, design savvy - keen enough to scour House & Gardenand Architectural Designfor ideas. He liked Illusion, a yacht Bannenberg & Rowell Design had refitted, so this became a starting point for Natori's design. " Natori's owner had a clear idea of what he wanted as a basis: one of a pair of identical 41.8m ( 137') boats built by Baglietto and designed by Francesco Paszkowski. Natori has a distinctive exterior, to put it mildly," admits Bannenberg. " We're quite partial to its slightly brutal look but it is polarising; quasi- military, sharp- edged." Granddesigns ? Delivered this past spring, the stunning 41.8m ( 137') Natori from the renowned Baglietto yard is set to become one of the most talked- about vessels on the charter scene. Project managed by Master Yachts and CNI's Jeremy Comport, she boasts a distinctive, avant- garde exterior styled by Francesco Paszkowski. But it is her interior, designed by Bannenberg & Rowell Design, that has attracted the most attention. Gilles Chapmandiscovers the ins and outs of the project from the talented design duo interior design Photography: David Churchill; Jérôme Kélagopian