Dev Patel as David Copperfield in The Personal History of David Copperfield directed by Armando Iannucci

Armando Iannucci is Hollywood’s most withering satirist. Here, the director of The Personal History of David Copperfield talks to Katie Mennis about British and American humour, Fleabag and The Death of Stalin

Armando Iannucci

LUX: Are you the hero of your own life, or is that station held by someone else?
Armando Iannucci: Dickens is one of the heroes of my life: he’s very funny and modern, and he wasn’t frightened of talking about the state of the nation. That’s my inspiration.

LUX: Was making David Copperfield a form of escapism for you?
Armando Iannucci: No, it felt very relevant, because the debate about what we are as a nation has become very negative. It’s all about what we’re not and what we don’t want. More of us should celebrate our variety and creativity. Our TV and film industry is the best in the world! We don’t talk up the things we like about Britain; if you do, you’re seen as nationalist and fascist. It’s like how we responded to the opening ceremony of the Olympics – that’s what Britain is. It’s not just cold bread-and-butter sandwiches and a bag of fish and chips on a wet Sunday.

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LUX: The film is tender. Are you going soft?
Armando Iannucci: The anger’s still there, the frustration from watching how this world isn’t functioning for everyone. But I’m not a swearing, angry person.

LUX: Did you have certain actors in mind?
Armando Iannucci: I could only think of Dev [Patel] playing David. I’d seen him be funny and awkward, but in Lion he was very strong, focused and charismatic. I wanted the cast to feel like modern Britain, because this was a modern story. I didn’t want it to feel dusty.

LUX: Who have you enjoyed working with?
Armando Iannucci: I’m pleased that I’m still working with people I worked with 20 years ago. I like building up a team, and we’re always getting fresh faces, like Hugh Laurie and Paul Whitehouse. And then suddenly, Daisy [May Cooper] and This Country come along, and you just think, “This is brilliant!”

LUX: What drives you?
Armando Iannucci: I’m always thinking what the next thing might be. You can’t predict it. You’ve got to make your own luck – to be constantly reading, talking, meeting, then something galvanises.

Tilda Swinton as Betsy Trotwood in The Personal History of David Copperfield

LUX: Is there a fundamental difference between British and American humour?
Armando Iannucci: It’s less noticeable because television is now so international. Avenue 5 is an American show, but we’ve shot it all in the UK, with Hugh Laurie as the lead. It’s good that we’re doing these joint ventures – we’re finding a comedy that’s not diluted, but that we all can respond to.

Read more: French designer Philippe Starck’s vision of the future

LUX: Can satire work in our current climate?
Armando Iannucci: I have no desire to do a Trump project, but if other people want to, great! What I’m mindful of is that, because [Trump is] his own joke and is also dangerous, you can’t turn him into just a joke. That makes him safe; that neutralises him.

LUX: How did you feel when The Death of Stalin was banned in Russia?
Armando Iannucci: I was just upset! There were debates in the Russian Duma with people saying, “You’ve made this the most famous film in Russia,” which they had. There were 1.5 million illegal downloads of the film, so it was absurd really.

LUX: What has made you laugh this year?
Armando Iannucci: Fleabag is tremendous. Bill Maher did a closing monologue on Real Time recently that was hilarious, about white guilt. And Taskmaster always makes me laugh.

LUX: What next?
Armando Iannucci: We are editing a series that will be out this year on HBO. It’s set in the world of space tourism in 40 years’ time, with Hugh Laurie as the ship’s captain.

‘The Personal History of David Copperfield’ was released in January.

This interview was originally published in the Spring 2020 Issue.

L’École, School of Jewellery Arts, is housed within the Van Cleef & Arpels headquarters in Paris

L’École is a school of jewellery arts based in Paris and supported by Van Cleef & Arpels, offering a luxurious learning experience led by industry experts. Digital Editor Millie Walton signs up for a class

Based one floor of Van Cleef & Arpels‘ headquarters in Place Vendôme in Paris, L’École was established in 2012 with the aim of introducing the wider audience to the world of high jewellery and its significance through the ages. Whilst the school was founded and is supported by Van Cleef & Arpels, it is not, as one might assume, an elaborate marketing stunt (during my class, for example, the only mention of Van Cleef & Arpels is via small-print on the slideshow), but rather a genuine centre of learning albeit a luxurious one. Classes take place in a palatial room which was once the office of Van Cleef’s President and CEO Nicolas Bos, with a break for tea, coffee and Parisian pastries in a stylish lounge filled up with glossy coffee table-books, whilst the teachers themselves are leading industry experts, which allows the classes to cater to every ability.

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The classes fall into four main categories: ‘Introductory’ (which offers a general overview), ‘The Universe of Gemstones’ (with two classes exploring diamonds), ‘Savoir Faire’ (featuring hands on workshops in which you get to actually try out various jewellery making techniques such as Japanese Urushi Lacquer) and ‘Art History of Jewellery’ (which investigates jewellery aesthetics of different time periods). On this trip, I’m signed up for an art history class on ‘Gold and Jewellery, from Antiquity to the Renaissance Princes’, which begins with Ancient Egypt and ends with examining portraits of Henry VIII and Elizabeth I.

Classes take place in the original office of Van Cleef’s President and CEO Nicolas Bos

Whilst the prospect of four hour lecture on jewellery is daunting, our teachers Inezita Gay-Eckel and Léonard Pouy are energetic and brilliantly knowledgable with infectious enthusiasm for their subject matter. The class itself mainly follows a standard lecture format, but we are encouraged to jump in with questions, and specialist terms are noted down on the whiteboard for us to copy into our L’École branded notebooks.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

Halfway through, Léonard appears, gloved and bearing a tray of delicate jewellery pieces. We’re encouraged to apply our new found knowledge to locate each piece to its time period, and whilst it’s still largely mystifying, it’s satisfying to even know what kinds of things we should be noticing.

The point of these classes, Inezita tells us, to provoke curiosity so that students feel compelled to take their learning further. At the end of the class, we’re each given a tote bag with a certificate and reading list of books, websites and museums across the globe.

Find out more: lecolevancleefarpels.com

Italian entrepreneur Flavio Briatore’s newest restaurant opening offers a lad-back fine dining experience in Knightsbridge

Flavio Briatore has never stood still. From Formula One racing, to a nightclub empire, to high-end restaurants, he has transformed all the industries he has been involved with. At the heart of all his work is glamour and luxury, and his latest dining offering, Maia in the heart of London’s Knightsbridge, takes this to a new level. Kristina Spencer investigates

Adrenaline, excitement, adventure – these have been a part of Flavio Briatore’s life since the early days. Born in 1950, the Italian tycoon worked as a ski instructor and a door-to-door insurance salesman before meeting Luciano Benetton, founder of the eponymous clothing company. Known for his business wit and endless charm, Briatore was soon appointed Benetton’s director of American operations and went over to the US to open more than 800 stores during the 1980s.

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In 1988 in Australia Briatore saw his first grand prix and a year later was named commercial director of Benetton’s Formula One team. The Italian understood that, for the audience, racing was less about the mechanics behind the operation and more about the spectacle and the excitement. Formula One had never seen anything like him before – Briatore transformed the sport into one of the most glamorous on the planet, and made a fortune along the way.

The restaurant Maia offers a swinging sixties-inspired ambience

It was Briatore’s ground-breaking vision that made Benetton a winning team within five seasons. Demonstrating his skill as a talent spotter, in 1991 he signed the driver Michael Schumacher, who won his first titles in 1994 and 1995. In 2000, after Renault bought Benetton’s team, Briatore signed a contract with Fernando Alonso, who was 18 at the time. Five years later Alonso won his first World Drivers’ Championship.

Briatore’s vision was one of success, and he loved what came with it. He dated models Naomi Campbell and Heidi Klum, launched a luxury clothing brand and eventually entered the luxury hospitality industry. Why? “My whole life has been about luxury. It’s where I feel most at home, and I wouldn’t do anything else,” he declares.

The businessman owns a Spa resort in Kenya and nightclub-restaurants in Monte-Carlo, Tuscany, Dubai and London. His most recent addition is Maia, on Hans Crescent in the heart of Knightsbridge, offering both traditional Italian dishes and plant-based choices. With Maia, Briatore wanted to create an “around-the-clock venue,” where you could spend anywhere from an hour to the entire day. “You can have a business lunch or an early evening aperitivo and carry on through to dinner. Maia is dynamic and adapts to the time of the day with a different atmosphere and offerings.”

Maia’s menu features traditional Italian dishes as well as healthier options

Maia is open all week for breakfast, lunch, dinner and everything in between. Its mission is to bring the soul back into the neighbourhood and create a go-to place for the locals, be it for a laid-back afternoon aperitivo or a family celebration. “Many Knightsbridge residents are already regulars,” says Briatore. “They come back because the staff know them by name and they feel they are taken care of.”

The menu has an array of contemporary versions of Italian classics, with vegetarian and vegan options. But can Italian food really be healthy? “Italian food is so versatile,” laughs Briatore. “Beyond the clichés, you will find a choice of fresh, seasonal dishes,” created by Michelin-trained Head Chef, Mauro di Leo. There are the usual suspects: cacio e pepe, veal Milanese and white fish ceviche with veggie crisps. But there is also a detox Maia salad (chopped kale, broccoli, cauliflower, parsley, carrots, sunflower seeds and lemon-ginger dressing) and an abundance of avocado on the menu. Maia might be onto something.

Health and wellness have been buzzwords for some time, but over the past couple of years they have changed the food industry. Rather than simply a trend, wellness has become an ongoing commitment, especially amongst millennials and Gen-Zs who deeply care about having a healthier lifestyle; and although it comes at a premium, they are ready to pay.

Francesca Giacomini’s protein salad bowl at Maia, Knightsbridge

Which is where Maia comes in. “All around us, we are being given more and more opportunities to eat a plant-based diet; it’s good for us and good for the planet so I can’t see that going away,” says Briatore. “Being Italian, this trend is actually what our food culture is based upon, and not that different from what our parents and grandparents put on the dinner table every day.”

The restaurant offers a healthy and nutritional menu from its in-residence wellness advocate Francesca Giacomini of ‘Francesca The Method’ fitness and nutrition plans. But Maia shouldn’t be mistaken for a health parlour: the afternoon tea is a treat with freshly baked cakes and pastries, and if you are after something stronger, Richard Woods, the award-winning mixologist, will mix you a drink.

Maia’s interior is subtle, referencing the 1960s with comfortable chairs and soft furnishings in dark leather around dark, glass-topped tables. Come evening, the curtains are drawn over floor-to-ceiling windows and the lights go down. It is important not to distract from the atmosphere, according to Briatore, as “the guests are at the heart of the restaurant – clients are the best decor we can get”.

The restaurant may be the newest addition to the Billionaire Group, yet it is certainly not the last one – early in 2020, Briatore will be opening a Crazy Pizza in Monaco, following its success in London, and Billionaire Riyadh will be launched. Briatore’s ambition is to continue to grow his empire – he brings a lifetime of experience with him . “I believe in calculated risk” he says “and I have learned you can’t always win but it sure feels great when you do!”

Find out more: maiamood.com

This article was originally published in the Spring 2020 Issue.

Two Point Two AW20 collection

Anvita Sharma

Anvita Sharma founded her Delhi-based fashion label Two Point Two to celebrate individuality through genderless collections that reject all forms of stereotyping and categorisation. Following the launch of the brand’s latest collection at London Fashion Week, Abigail Hodges speaks to the designer about the concept of beauty, self-expression and acceptance

1. Can you tell us about the historical events that inspired your AW20 collection?

Every collection that we have done so far has had a multicultural reference to it. Maybe it’s because I have lived in such different countries as well as among such different nationalities that amalgamation of these different/opposing or similar things comes very naturally to me. As a creative person, I try to challenge myself with every season. To do something that Two Point Two has not done before, may it be in relation to colours, silhouettes or embroideries.

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With this collection we wanted to take a step forward, and mix art and comfort. ‘The Self’ embodies a reconceptualisation of genderless clothing, aspiring to refashion a world that breaks down the boundaries of gender and illuminating the very fluidity of it. It speaks about self-confidence despite flaws and quirks. It is about finding perfection in the imperfections; about embracing one’s uniqueness and weirdness because that is what sets you apart from the rest. It is a synthesis of the masculine and feminine energies of the universe in one body which are depicted in our inspiration of the embroideries – “Ardhanareshwara”, an androgynous form of Lord Shiva and Parvati. We made our artwork using the tantric symbols of these deities mixing it with the Japanese character Enso as well as some genderless faces.

A look from ‘The Self’ collection by Two Point Two, which launched at London Fashion Week 2020. Photo by Gio Staiano

2. How is your brand philosophy reflected in the models that are chosen to showcase the pieces?

We celebrate individuality, confidence and diversity. [Our philosophy] aims to create an “agender” identity, which has characters from maybe both the binaries or maybe neither. It strongly stands against stereotyping and categorisation of anything. Two Point Two believes that beauty exists in every soul and it’s all about accepting and endorsing it as your own. We focus on the individual and not their gender, culture, race or size and support them to express their individuality through clothing even if it’s something unusual. Being ‘Typically Atypical’ is our motto. We chose models who we thought have very strong personalities and character to them. We were very pleased to have all of them in our show as each and every one of them represented Two Point Two’s brand philosophy of inclusivity and individuality to the core. As we did not have any particular category or guidelines as to what type of faces we need, we saw so many interesting people at the casting and instantly fell in love with so many of them that it became difficult to choose.

Two Point Two AW20 collection

3. Do you face any institutional obstructions when working to showcase a genderless collection?

The world has started going in a direction of all-inclusivity. It’s becoming very welcoming and embracing everyone’s individuality day by day. Self-expression is easier now than 10-20 years ago. And it’s only getting better. However, since the norms/criteria or categories still exist, there will always be stereotyping among things. Whether a particular look is too feminine or too masculine. Beauty is connected to a particular idea that the society creates. Sexiness is connected to a particular image or type of looks. Idolising that concept of beauty sometimes feels like an obstacle to who we, you and I are. The constant justification required as to why genderless fashion and people adorning it are also sexy/beautiful is something which we face and have no problem reminding everyone about it multiple times.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

I was very self-conscious about my looks while growing up. Still sometimes, very rarely, I fall in that vicious cycle of idolising the perfect beauty. So, for me, the concept of Two Point Two and the celebration of individuality and self-confidence it stands for, as well as rebelling against giving any sort of justifications for who you are, is the main goal while working on genderless collections. Also, the gender disparity and the problems the LGBTQIA community faces in India is something I strongly stand against and this is a way to support their community as well as any individual who feels that they don’t “belong”.

4. Which are your favourite pieces from this latest collection?

Oh, it’s very difficult to choose. They are so different yet so similar to each other. I poured my heart and soul to each garment and each detail. But if I have to choose I’ll have to say the monochrome olive-green look. It was very unexpected as the decision of changing its combination happened moments before the runway, so I was very pleasantly surprised by it myself. This is what fashion is to me. Fast paced, maddening and yet very satisfying.

Anvita Sharma’s favourite look from ‘The Self’ collection by Two Point Two. Image by Gio Staiano

5. How has your design process evolved over the recent years?

I think there is a massive growth in terms of design aesthetic as well as the process that we follow. With every season, I learn from my mistakes and evolve and grow making sure that those mistakes are not repeated again. We are of course more organised and clear now as compared to our first collection. Although, our brand ethos, philosophy and belief remains as strong as when we started the brand. And, we still work on a ‘go with the flow’ basis and let the inspiration take over when it has to instead of actively looking for one. Like mentioned earlier, my favourite look was very last minute and unexpected, so these things happen very spontaneously and I strongly believe that the energies of the universe guide you and take you where you are meant to go.

6. What’s your five year vision for the brand?

I want Two Point Two to have a global audience and impact in the coming years as the brand is non-demographic and all-inclusive and can be appropriate for any market and any customer in the world. We also like to be working with more handloom and handwoven fabrics which we are already exploring and used in some collections at the moment and planning to get more involved in it. Also, we would like to support the local artisans and their dying crafts from different regions of India, so we are exploring certain tribes and clusters of various parts in India and getting to know their stories, their histories and cultures as well as helping them economically and incorporating their crafts in Two Point Two and give them an international audience in the coming season.

View the collections: twopointtwostudio.com

French designer Philippe Starck. Image by JB Mondino.

Legendary French designer Philippe Starck gives Mark C. O’Flaherty his radical vision of the future: a time when designers won’t be needed – and maybe even chairs

“I’m not interested in aesthetics anymore,” says Philippe Starck, sipping on a glass of mineral water in the Royal Academy in London. “I am interested only in our evolution, and how the intelligent craft of human production is going to be rerun by dematerialisation. We are working on making things disappear.” As Starck speaks, I notice the periodic flashing of a red LED from beneath the skin on a fingertip of his left hand. It’s extraordinary. I ask him what it does – is it connected somehow to his laptop, perhaps? “Ah, it’s magic!” he says, cryptically, before steering the conversation to his ongoing project with the Roederer champagne house: “I never wanted to just design a bottle, I wanted to share in the making of what was inside. And it was about creating something that had less in it, nothing added, no sugar.”

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We are at the Royal Academy for the launch of the new Roederer-Starck 2012 rosé champagne, where he is judging a competition between 13 artists at the Academy’s Schools to interpret the taste of the champagne through their art. His choice of winner – a white-on-white embossed spiral on paper called Cycles, by Sofía Clausse – is apposite for his ongoing philosophy of design: “It was the most accessible piece,” he says, “It was simple. It captured the spirit of champagne, which to me isn’t a wine, or a reality, but an idea.”

Starck’s AI Chair for Kartell

When the world first caught sight of Philippe Starck’s work in the 1980s, the Parisian-born designer had been creating products for a new way of living. He was changing the vocabulary of interiors, rephrasing the language with futuristic accents on everyday items. His choice of materials was aggressively different from the tradition of French design – he selected transparent plastics, metallics and pop colours. He was as New Wave as the cinema of Luc Besson and Jean-Jacques Beineix and of the architecture of Jean Nouvel. Today, at 70, he is one of the most prolific designers who has ever lived, having created literally (his studio can offer no official number) countless products from clocks to yachts. Today, he still works on an average of 200 projects a year. And yet, as he tells me, he believes that “fifteen years from now, thanks to technology, every material obligation will have disappeared.”

Read more: Chaumet’s CEO Jean-Marc Mansvelt on historic innovations

How does a designer who has been apocryphally credited with 10,000 products balance his current view of a future with nothing in it, with his business model? “The business element will shift,” he says. “We debuted the AI chair with Kartell at Salone del Mobile in Milan this year, and it was the first of its kind ever to be created with artificial intelligence. AI is going to create a new freedom in design. With AI, we can now ask any question, but it’s all about knowing the right question.” He also sees a time beyond furniture. “Design as we know it will be dead,” he says. “There will be better solutions to sitting down than a chair. I think a chair has always put you physically in a bad position. We can do better than a chair.”

The entrance to the Starck-designed L’Avenue restaurant at Saks Fifth Avenue, New York, with stained glass by his daughter Ara

Starck has always been radical. In 1984 he created the interior for Café Costes in Les Halles. With its theatrical blue staircase and oversized minimal clock, it was as much a postmodern landmark leisure-time interior as Ben Kelly’s Haçienda in Manchester, and Arata Isozaki’s Palladium in New York City. All were created in the same decade, but Starck’s project was notably more dramatic because of its location. This was Paris, a city still stuck in Belle Époque aspic. French design was frozen in curlicues and froth. Starck was an iconoclast.

Entries to the Brut Nature competition from Royal Academy students, with (top) The Philosophers’ Reserve by Max Prus, and (here) Tidally locked by Olu Ogunnaike

After a series of successful Paris interiors, he was aligned for a long period with Ian Schrager’s fantastical hotel projects, bringing some of the eccentric visual flair that Schrager and his late business partner Steve Rubell brought to Manhattan nightlife with Studio 54. There was a fairytale, supersized element to much of what he did, from elevated swimming pools to triple-height billowing curtains. From the Royalton in Times Square in 1988 onwards, their partnership helped take Starck’s name and distinctive, witty style to the world.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

While his peers, including Marc Newson – who currently holds the record for a design object at auction after one of his Lockheed Lounge chairs sold for over £2 million in 2015 – focused on rarefied edition pieces, Starck focused on mass production. A rare blue glass Illusion Table sold for $50,000 a decade ago, but Starck is known more for his alien-looking Juicy Salif lemon squeezer – which first appeared in 1990 – and continues to be one of Alessi’s best-selling products of all time. At one point, the company produced 10,000 gold-plated versions, purely for display in the home (lemon juice discolours the surface). His transparent plastic chairs for Kartell – the La Marie, which launched in 1999, and the Louis Ghost armchair, which debuted three years later – are as instantly recognisable as any piece of furniture ever made. They brought avant-garde design to the mass market. But when plastics are being demonised, do his polycarbonate objects belong to the past? Starck remains a passionate cheerleader for the material. “For me, it’s the only way to achieve the quality product I want,” he says. “There is a great difference between single-use plastic and a chair that you can keep for a century or more. The media has created great confusion. I prefer to work with fossil energy than to cut down trees and I would rather use vinyl for upholstery than kill cows.”

Two further entries from Royal Academy of Arts students to the inaugural Brut Nature competition judged by Philippe Starck, with (top) Self-portrait as a Champagne Fountain (2019) by Clara Halstrup and (here) Sun on the coast of the moon by Richie Moment

One area in which he, and indeed most of us, remain guilty in terms of the unfolding climate crisis is in carbon emissions from flying. But Starck is one of the busiest designers on the planet, and for someone who still uses pen and paper and tactile models to create (“If you create using a computer, you are just creating within the frame of the guy who created the software!”), he needs to appear in person for projects. The day after we meet, he has to get up at 4am to catch a plane to Milan where he’ll be for a few hours before flying off again, heading further south. “It’s fine – I am so used to it,” he shrugs. “I once went to Seoul from Paris for three hours.” At 70, he shows no signs of slowing down, but when he takes time out, it’s the most understated resort he has ever designed that he likes to head to. “I like lots of places I have been involved with,” he says, “but the one I really love is La Co(o)rniche in the Bay of Arcachon near Bordeaux. It’s really just a few cabanas on top of the Dune de Pilat, the highest sand dune in Europe. You are there looking at the waves and the sunset and it feels like the best place in the world.”

The choice of a fairly rustic, nay, Zen destination ties in with his world view right now, and his intention to both continue democratising design and make it vanish. Just as he believes the future is chair-free, so he believes our everyday tools and indeed all of our furniture will go. “Designers won’t dictate the aesthetic in the future,” he says, “it will be down to your coach and dietician, because telephones and computers will disappear and everything we use will be incorporated within the body. We will be naked in an empty room, and we will be able to conjure flowers or whatever we want from nothing.” As Starck gesticulates, the red LED flashes on his finger tip again. “So, come on, tell me…,” I ask, “is that part of the new cyborg tech you are talking about?” He smiles. “Oh, this? I got it from the Harrods toy department. Fun isn’t it!?”

Louis Roederer and Philippe Starck

The recent launch of the 2012 Roederer and Starck rosé champagne marks 13 years of the designer’s collaboration with the French family-owned champagne house and maker of Cristal. Starck has been involved in each step of the production, including, of course, the champagne’s packaging. From the first brut-nature product in 2006, the champagne has been created sugar-free, with zero dosage. As Jean-Baptiste Lécaillon, Roederer’s chef de cave  says: “We have used nature as our collaborator as much as anything with our work with Philippe – it is organic, with minimal intervention and a focus on the real taste of champagne. This came from our discussions with him.” The presentation attempts to democratise the luxury product – it looks more like a chic bottle of olive oil than a grand cru. The hand-lettering on the label and box and the rough line of fluorescent pen creating the edging makes it look effortless. As Frédéric Rouzaud, president and family scion of Louis Roederer says: “It represents spontaneity. He wanted a simple paper for the label, and just wrote by hand what the product is. He wanted it to be approachable, to speak to everyone.”

Find out more: louis-roederer.com & starck.com

This article was originally published in the Spring 2020 Issue.

Supported by the Lady Bamford Foundation as a centre for craft and sustainable design, Nila House occupies a 1940s residence in Jaipur restored by Indian architect Bijoy Jain of Studio Mumbai. Image by James Houston

Lady Carole Bamford, the founder of Daylesford Organic, beauty brand Bamford and numerous charitable foundations including Nila House gives us a guide to her spiritual home, Jaipur

Lady Carole Bamford

Where I hunt for treasures…

I always look forward to visiting the government khadi shops. I find myself spending hours there, lost in the piles of beautiful hand-spun fabric. Handwoven in villages across the country, the simple white cloth with all its imperfections is my idea of the ultimate luxury item.

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Cultural immersion…

The riot of colour and sound of the markets is extraordinary, and the old city has some of the best textiles and jewellery. I recently met a family of hand-block carvers who have been creating intricate wooden blocks for generations. Such artisans have a wealth of knowledge that we at Nila House, our new centre for preserving these traditions, believe should be shared with a broader audience so that it can be carried on into the future.

Image by James Houston

My perfect day in the city…

I always start my day with a puja prayer ritual followed by yoga and meditation. Then I will head out with my design team to visit our suppliers. I love visiting the workshops; I always learn so much, watching the dedication and meditativeness of their work. In the afternoon I might explore antique textiles at Rajasthani Arts to see if there is anything for our archives.

Read more: Hôtel Chais Monnet & the beauty of southwest France

Best dining spot…

47 Jobner Bagh is my favourite place to escape the crowds and noise. This charming family-run hotel has the best home-cooked Indian food. My favourite is a bowl of dal makhani, mopped up with a hot naan bread.

The building features a shop and studio spaces for local artisans. Images by James Houston

Home away from home…

We always stay at the The Oberoi Rajvilas. It is our home in Jaipur and the wonderful staff look after us like family.

Worth a detour…

I love visiting the paper factories in Sanganeer, just outside Jaipur. They have some of the most beautiful paper you can find, all handmade from natural materials – from cotton rag and banana fibre to the beautiful textured seed paper that we use for all of our packaging [at Nila House].

Nila House is a cultural centre dedicated to preserving traditional craft methods and supporting artisans across India; it is part of the Lady Bamford Foundation. Find out more: carolebamford.com

This article was originally published in the Spring 2020 Issue.

Traveljar guests can enjoy unique wildlife experiences such as morning walks with the orphaned elephants in Zambia. Imag by Andrew White

Traveljar designs luxurious travel itineraries tailored to guests’ interests and led by industry experts such as scientists, Olympic medalists and award-winning photographers. Chloe Frost-Smith speaks to Libby White, Director of Experiences, and Andrew White, Director of Conservation, about responsible travel, wildlife encounters, and far-flung destinations

1. Conservation is at the heart of your business. What are your top tips on how to travel more sustainably?

Libby: We really try to help our guests to become responsible travellers and learn how their trips can benefit conservation, communities and the environment. My number one tip would be to think about what kind of impact you want to leave behind from your travels. At Traveljar, we have partnered with suppliers who provide ethical and sustainable destinations so our guests are having a positive impact no matter where they choose to stay.

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Another top tip is to get involved! We love to help our guests find meaningful ways to give back during their trip. We can arrange a day of learning about rhino conservation in South Africa, visit an elephant orphanage in Zambia, spend the day reading to kids in a rural school in Zambia at our library project or take a tour around your accommodation and the local community to learn more about the sustainable practices that are in place to benefit the area. Traveljar also donates to one of our four NGO partners for every trip booked with us and all of our itineraries show guests how their trip is giving back.

Wilderness Safari, Chitabe Camp in Botswana where guests can stay in sustainable luxury as the camp is 100% solar powered.

2. Where would you send travellers asking for the most off-the-beaten-track destinations?

Andrew: Two places immediately come to mind for me, the first one being Busanga Plains in Zambia. Located in the northern part of the Kafue National Park, this grassy seasonal floodplain is known for some of the best lion viewings in Africa. Because there are only a few lodges operating here and less visitors, you will get a more intimate safari experience, giving you a true remote bush safari away from the crowds.

Lion on the Busanga Plains. Image by Andrew White

The other destination I would recommend is Virunga National Park in the eastern part of the Democratic Republic of the Congo. This is one of only three places in the world to see mountain gorillas and is very much off the beaten track when it comes to a holiday. Responsible tourism has the chance to make a difference to the communities living here. As well as support the conservation efforts in the park like the Senkwekwe Centre for orphaned gorillas and their ranger program which has over 700 male and female rangers who are protecting the park’s wildlife. For the adventurous, you can hike up Mount Nyiragongo, an active volcano, to one of the world’s largest lava lakes.

Mountain Gorilla. Image by Nelis Wolmarans

3. What has been your most memorable wildlife encounter to date?

Libby: Without a doubt for me it was seeing my very first rhino in Pilanesberg National Park (in South Africa) and then taking to the air in a helicopter for an anti-poaching patrol with our partner, Rhino 911. Seeing these gentle giants in their natural habitat for the first time was incredible but then to also get the chance to learn more about the dangers facing rhinos and the people try to protect them, made the experience one I will never forget. It has made me even more committed to doing what I can through Traveljar to try and help Rhino 911 in saving this endangered species.

Andrew: There is something very exciting about getting the opportunity to watch animal behaviour on a safari. One of my most memorable wildlife moments was in South Luangwa National park with two clients, both of whom had never seen African Wild Dogs before. After picking up their tracks, we found the pack sleeping in the long grass. Wild dogs are very playful and social and we got to watch them splashing around in the pools of water. Strengthening social bonds and listening to the chatter between them highlights their intelligence and our guests were amazed by their actions. That afternoon we followed the pack as they moved along the river in search of Impala and watched with interest as the dogs chased the impala across the plans, using incredible teamwork in the diminishing light.

Libby & Andrew White with Rhino 911 in South Africa

4. How do you define experiential travel, and do you have a favourite moment from one of your expeditions?

Libby: For us, experiential travel is travelling with purpose and the ability to show our guest that you can combine a relaxing, luxury holiday while giving back. We believe that when people travel with purpose, that they have the potential to positively impact the communities and wildlife they encounter along their travels, as well as to come home feeling inspired themselves.

My favourite moment so far has been taking guests to help set up a library in a rural school in Zambia as part of our community engagement commitment. It was amazing to be able to watch my clients read and interact with the kids, to see the positive impact it was having on them as well and to know that, together, we had all been a part of providing books for over 600 children to continue developing their reading skills for their future.

Children reading with books donated from Traveljar’s library project in Mfuwe, Zambia. Image by Andrew White

Andrew: My favourite moment from our expeditions is always the chance to take clients on a morning walk with the orphaned elephants at the Lilayi Elephant Orphanage in Zambia. I have personally been involved with Game Rangers International for the last 10 years and being able to help others learn about the work this incredible NGO is doing to rescue, rehabilitate and release these elephants back to the wild is always very special to me.

5. What makes your itineraries ‘once-in-a-lifetime’ trips?

Libby: All of our itineraries are 100% bespoke, making them completely tailored to the client’s travel wishes. We decided to do our trips this way because we felt like what equals the “perfect” trip for one person is not the same for the next. We take the time to really get to know our clients and understand what they are hoping for from their trip. Guests can choose every aspect of their adventure, along with our expert guidance, from the type of accommodation they stay in, to the activities they participate in, down to which partner we make a donation to from their trip. In planning a trip this way, we can create the “perfect” and “once-in-a-lifetime” adventure for each individual.

Elephant at sunset in Botswana’s Chobe National Park by Barbara Eidel

6. What is your favourite image from your photographic safari masterclasses and why?

Andrew: For me, the photographic masterclass is all about helping our clients get their dream photo. By travelling with Nelis Wolmarans or myself, our guests will visit beautiful destinations with incredible wildlife, leading to a number of opportunities to either learn more about wildlife photography for the first time or to work on perfecting their skills or trying out new techniques. One of my favourite pictures from a photographic masterclass trip was a beautiful elephant at sunset photo by our client Barbara Eidel, taken in the Chobe National Park. I had the chance to take her on her first African safari last summer and help her in developing her wildlife photography skills, building confidence and creativity in her work . Having a client at the end of the trip enthusiastically share their photos with you and ask when the next trip is going to be, makes it a very memorable adventure together.

Find out more: travel-jar.com

The creations of quintessentially Parisian jewellery maker Chaumet may have been fit for an empress in the late 18th century when the company was founded. But the jeweller aspires to be equally at home with the modern woman around the world. CEO Jean-Marc Mansvelt tells Irene Bellucci how they make the new out of the old

Jean-Marc Mansvelt

“For me, luxury is about craftsmanship and excellence. But it’s more than functionality – it’s also about emotion. And luxury transcends fashion, too; it takes time to invent, create and make.

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“Chaumet’s founder Marie-Etienne Nitot trained under the jeweller to Marie Antoinette, and after the Revolution became Napoleon Bonaparte’s official jeweller in 1805. This led to numerous commissions from the great and the good, including jewels for Empress Joséphine, after whom one of our most iconic collections is named. The brand’s tiaras went on to be worn by queens and rulers across the globe.

Laurel Leaf Tiara by Joseph Chaumet (1920)

“Yet, our history isn’t enough to sustain us in the 21st century; consumers’ tastes have changed as has the function of jewellery itself. Nowadays, a tiara is not really worn beyond special and rare occasions, so in 2010 we reinvented them by moving them from head to finger for our Joséphine ring collection. Once they were crowns expressing power, but now we have brought them into the modern era in a more delicate and wearable form.

“But not all of our pieces are reinventions. We try to mix tradition and contemporary art; we also like to look to the world of music for ideas. In referring just to the past, the risk is that we will repeat ourselves – we need to inject new elements into the process.”

View the collections: chaumet.com

This article was originally published in the Spring 2020 Issue

The Garonne river runs through the heart of southwest France

The recent opening of the spectacular Chais Monnet country hotel in Cognac has put southwest
France on the touring map. Jenny Southan outlines the wonders of a region which stretches from Bordeaux to the idyllic Ile de Ré, with Cognac and its new luxury destination hotel at its gastronomic heart

With environmental activists calling for 2020 to be a no-fly year, this is a good time to swap long-haul holidays for road and rail trips across the continent. And with the future relationship of the UK and Europe changing, heading to the home of the founding father of the European Union, Jean Monnet, in Cognac, France, feels apt. The Monnet family have lived in Cognac since the 19th century, and in 2018, their former mansion and distillery was turned into a luxury hotel – the first for the region.

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Hôtel Chais Monnet has proved one of the most expensive hotel developments in the country in recent times, and has consequently become a destination in itself. The two-hectare former industrial site – comprising cognac cellars, warehouses and barrel cooperage – was transformed thanks to €60 million of investment from British businessman and property developer Javad Marandi, who has also put money into Soho Farmhouse in Oxfordshire (the hotel embodies much of the look and feel of this high-end British retreat from the Soho House Group).

Positioned on the banks of the Charente river in a town famous for its double-distilled brandy, the 92-room Hôtel Chais Monnet has become a lively retreat for both visitors and locals who come for hedonistic brunches, live music and cognac-infused mille-feuille. Both beautiful and striking, with a mix of renovations and new-build structures, the property has been reimagined and expanded by French architect Didier Poignant, who also worked on Le Royal Monceau and Hôtel de Crillon in Paris.

Classic and contemporary collide to stunning effect at Chais Monnet

A spa and heated swimming pool are in a glass pavilion and an ultra-modern glass building covered in iron latticework houses the majority of the rooms as well as 13 apartments with kitchens for those looking to stay three nights or more. A 2019 addition is Les Foudres, a gourmet restaurant in the old cognac-ageing cellars, a cathedral-like space that incorporates giant barrels into the architecture of the entrance hall. A rooftop bar, modern art gallery, concept store, cinema, kids’ club and patisserie have also been added. At night, each building is connected by illuminated walkways.

The hotel’s outdoor swimming pool

One of the many charming features of Hôtel Chais Monnet is its partnerships with local craftspeople, who have been recruited for their skills and to share their wares with guests. Some of the staff wear traditional Charentaise shoes from nearby Angoulême; handmade leather travel trunks are brought to the rooms containing croissants, yoghurt and fruit for breakfast; minibars stocked with Charente craft beer; and oak parquet flooring laid by expert carpenters. Meanwhile, the wooden beams in the La Distillerie brasserie have been brought back to life by local cabinetmakers, and diners even get their choice of locally made cutlery.

Les Foudres restaurant.

Guests checking in will be guided up to elegant, homely rooms decked out in light oak furniture (those in the old building also have original oak beams), fauteuil armchairs, Nespresso machines, Fragonard bathing amenities and free Wi-Fi. Some also have sun terraces. The Jean Gabriel Monnet suite (named after the French political economist, diplomat and founding father of the European Union), is the largest at 180sq m, and has a lounge, butler service, a treatment room for massages and a marble bathroom.

Read more: Inside The Garrison Club at Chelsea Barracks, Belgravia

Once you have unpacked, a trip down to the Angélique Café for afternoon tea or Le 1838 bar are de rigueur. Located in the Monnets’ original cooperage – where barrels used to be made – the latter lists more than 400 types of cognac (famous houses such as Hennessy, Rémy Martin and Courvoisier are all close by), and also regularly hosts jazz and blues bands. Champagne is also on the menu, of course, as are a variety of innovative cocktails such as The Road Jack, which is made from Cognac VS, local aperitif Pineau des Charentes, dry white wine, lime juice, lemon thyme syrup, honey and sparkling water. For those who don’t like brandy, there is also Grey Goose vodka, which is served in nightclubs across the planet but rarely acknowledged as being from Cognac.

The Phare des Baleines lighthouse at Ile de Ré, and the region surrounding Cognac

A stop on the Santiago de Compostela pilgrimage route, Cognac is a small town of approximately 20,000 people, surrounded by six different vineyard areas within the appellation d’origine contrôlée. The spirit has become famous for its blend of eau de vie made from grapes from different locations, although the best use Petite and Grande Champagne grapes. Once the colourless alcohol has been distilled in copper pots, it is poured into oak barrels to mature (the wood imparts colour and flavour). With a history of exports to the UK, the makers typically label the bottles with English acronyms, depending on how long it has aged – VS (very special), VSOP (very superior) and XO (extra old, meaning at least six years in the barrel).

Le 1838 cognac bar

If you’re in Cognac, it’s a prerequisite to do some tastings, and some of the production houses have welcome centres where you taste samples. Next door to Hôtel Chais Monnet is Martell, which has a contemporary art foundation and rooftop bar, while the Royal Château de Baron Cognac, birthplace of King François I, offers tours of its cellars. The hotel itself can also arrange experiences for guests – from bike rides, horse riding and vineyard tours in its vintage Citroen 2CVs, to truffle hunting, golf and half-day excursions through the countryside in a luxury sports car. There is also a lake within the Grande Champagne vineyards where you can go waterskiing. In July, there is the annual Cognac Festival with live bands and fisherman’s huts.

Although there is plenty to do within Cognac itself, it is also well worth doing a bit of exploring. About an hour’s drive south-east is Champagne, while Bordeaux, which makes an excellent day trip, is 1.5 hours south. Being one of the best wine-producing regions in the world, with renowned vineyards such as Château Smith Haut Lafitte, tastings should undoubtedly be part of any itinerary. However, the city itself is worthy of time, too, with its beautiful neoclassical architecture, buzzing central market (hawking oysters, cheese and baked goods) and pedestrian quays that run alongside the Garonne river. The maritime Musée Mer Marine opened in 2019 by the former docks; and there is also the futuristic, snail-shaped wine museum, La Cité du Vin, which was designed by XTU Architects.

The legendary vineyard town of Saint-Émilion, home to Château Cheval Blanc, is a quick day trip from Cognac

Not far from Bordeaux is the picturesque medieval town of Saint-Émilion, which has in excess of 800 wine producers, some of the most famous Grand Cru estates being Châteaux Cheval Blanc, Angélus and Figeac. Another, Château Clarisse, has more than 20 hectares of vineyards growing merlot, cabernet franc and carménère grapes. In 2019 it produced its first organic vintage after switching to a more environmentally respectful viticulture.

Read more: Sea2See recycles marine plastic to create fashionable eyewear

Further afield are the Dordogne’s famous Lascaux caves. Discovered in 1940 by a group of teenagers, the UNESCO World Heritage Site encompasses prehistoric caverns stretching 235m, and decorated with hundreds of Palaeolithic paintings of animals and plants native to the region 20,000 years ago. They are considered to be the work of many generations of humans living in the Old Stone Age. The Hall of Bulls stands out for its images of bulls, horses, stags and a bear, which can be clearly seen on the walls of the ancient rock chamber. However, visitors will have to make do with seeing facsimiles in Lascaux II, as the real caves have been closed off since 1963.

The hotel spa swimming pool

Following the road an hour and a half north of Cognac to the Atlantic, is Ile de Ré. As well as sweeping dunes, golden beaches and sweet-smelling pine forests, this chic little hideaway boasts delectable, cheap seafood (mussels and oysters are a staple here) while sea salt is collected in pans by the marshes. The island also has miles of cycle paths allowing you to navigate its 30km-by-5km area on two wheels in a couple of hours. Plage de Gros Jonc is the place to head for surf lessons, and the capital of Saint-Martin-de-Ré, behind its 17th-century walls, has inviting cafés and restaurants.

Hôtel Chais Monnet is the perfect base to return to at the end of a day’s excursion. Passing through its gates in the evening, guests will find buildings connected with illuminated walkways, freshly turned-down beds and platefuls of lobster risotto waiting for them at La Distillerie. For those with aching limbs after a day’s exploring, the spa is open until 9pm for restorative ‘Back from the vineyards’ foot massages. Although many years have passed since its days as a functioning cognac distillery, at Chais Monnet, enjoying the fruits of this endeavour while reclining on a Chesterfield sofa by the fire, is surely the only way to round off the night. Sante!

Find out more: chaismonnethotel.com

This article was originally published in the Spring 2020 Issue.

Visitors to The Garrison Club at Chelsea Barracks are greeted by the art-deco inspired lobby

Chelsea Barracks in Belgravia is one of the most spectacular luxury developments in the world. And at its heart is the semi-secret Garrison Club, a discreet private space where an all-star team of concierges look after their residents every need, as Anna Tyzack discovers

It’s a typical Belgravia street scene – majestic townhouses, gleaming black railings, sausage dogs, cyclists and shoppers. Yet behind the pale stone buildings of Chelsea Barracks is a secret organisation, working 24/7 to ensure the residents of London’s newest neighbourhood want for nothing. “Anything’s possible,” explains André Bremermann, general manager of Chelsea Barracks. “From private jets to movie screenings, from business meetings to introductions to prep schools – we have the relationships in place to make these things happen.”

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The Garrison Club is not dissimilar to the Society of the Crossed Keys in Wes Anderson’s 2014 film The Grand Budapest Hotel – it’s formed of leading concierge staff from five-star hotels, as well as prime developments such as One Hyde Park and 199 Knightsbridge. Never before has a service on this scale been available to an entire community – every resident in the 5-hectare Chelsea Barracks development is automatically a member. “What we’re doing here is unique,” Bremermann says. “Chelsea Barracks is not a gated community, it’s a new and exciting part of Belgravia – yet residents can enjoy the security and services of a five-star hotel.”

The Chelsea Barracks townhouses

An average Belgravia townhouse, according to luxury staffing agency, Greycoat Lumleys, has a staff of five or six; residents in 8 Whistler Square, which is just one building within Chelsea Barracks, have access to a team of more than 38 people. This is what makes The Garrison Club so ground-breaking, says Bremermann: residents enjoy the same freedom and anonymity as any Londoner yet with a powerful support network at their fingertips. “They can contact us via the Chelsea Barracks Residents app or on the phone,” he explains. “It’s the modern equivalent of bygone Belgravia when households had footmen, valets, butlers and housekeepers.” Indeed, there’s even a Garrison Club Rolls Royce parked up by the main entrance, ready to whisk residents to Harrods or anywhere else they want to go within a two-mile radius. “You see cars like this at the world’s finest hotels but never private residences,” Bremermann says.

Read more: Sea2See recycles marine plastic to create fashionable eyewear

His team are well aware that true luxury is time – and this, he says, is The Garrison Club’s main consideration when responding to their members. Residents at 8 Whistler Square are greeted by the same faces each day, who will offer to help with their shopping, ask if there is anything they can organise, without ever being intrusive. “It’s about having the right presence and being intuitive enough to read people,”

Bremermann says, “Never a long conversation but always an acknowledgement.” The Garrison Club runs the communal parts of the development, which so far include a Technogym, Elemis spa and 20m pool, connected to the residences and townhouses via lifts and underground walkways. With the app, residents can book training rooms or a Pilates studio, or treatment suites in the Elemis spa. “We know leading personal trainers and beauty therapists and can put our members in touch with them,” Bremermann says.

Residents of the new townhouses at Chelsea Barracks are able to use the facilities of The Garrison Club, such as the spa and pool (above)

His team also runs the private cinema, which has tiered seating for 16, blankets and a popcorn and drinks bar, and the games room with private drinks cabinets for residents and a billiard table. “We can arrange food and drinks at any hour of the day,” he says. “We’ll get to know the residents and make sure we have what they want to hand.”

Read more: Introducing the next generation of filmmakers

The private business suite, with lounge area and two boardrooms, is a surprise hit with residents, who are opting to work from home rather than travel into the office. The Garrison Club staff are on hand to provide tea and coffee and help with the video conferencing and other technology. “If lunch is required, we can arrange for it to be delivered from Daylesford Organic up the road within an hour,” Bremermann says. “We enable our residents to be flexible – which is another luxury in today’s world.”

Residents can make use
of the business centre

For families, the fact that The Garrison Club has relationships with top private schools including Garden House and Eaton House is reassuring, as are its links with leading staffing agencies who can source nannies, housekeepers and drivers. The club can help organise events such as 21st birthdays and christening parties in the opulent Residents Lounge, which can be booked for a relaxed dinner for friends or larger celebrations. “Residents can bring their private chef or we can find them caterers,” Bremermann says. His team also has a close relationship with entertainers Sharky & George, who host some of London’s most elaborate children’s parties. “We can transform the Residents Lounge into a jungle with real crocodiles, Komodo dragons and meerkats as well as aerial acrobatics,” says George Whitefield, co-founder of Sharky & George. “Or an Alice in Wonderland UV disco with edible bubbles, karaoke and 60mph candyfloss.” Bremermann also anticipates helping organise private events in the communal pool and in the spas at the 13 newly completed townhouses, all of which have pools.

The Billiards Room at The Garrison Club

It’s The Garrison Club’s all-seeing eye that Bremermann expects residents will be most grateful for, though. Chelsea Barracks will evolve into a lively neighbourhood with cafés, an art gallery, restaurant and an NHS health centre, but the club’s job is to make sure its members are safe and secure at all times. “It seems free and open here but there are many discreet cameras and everybody working for The Garrison Club is also part of the security team,” Bremermann says. “We know who goes for a run every morning; we know who is familiar and who isn’t. We look after Chelsea Barracks like it’s our own home.” For residents with older children who are studying in London, this support is reassuring, he continues. “We’ve employed people who really care. This is our residents’ London home and it’s our job to make it feel that way.”

The residents’ lounge

As more townhouses and residences are complete, and more residents move into the neighbourhood, The Garrison Club will grow and evolve too, Bremermann says. “We’ll listen to the residents and react to their needs – even if eventually we have to use a golf buggy to respond to their calls.” He sees the moving-in process as a key part of The Garrison Club’s role – so far his colleagues have arranged state-of-the-art machinery to transport valuable artworks and pianos through upper-floor windows and have overseen snagging lists for overseas residents making internal changes to their properties. “There are always glitches when you move into a new home – we are here to smooth things out.”

The Garrison Club is causing quite a stir in Belgravia. One resident is investing in a residence in Chelsea Barracks in order to gain membership, while those who would previously have bought up the period townhouses on Eaton Square are opting for penthouses in the development. “I can see why they’re making that choice,” Bremermann says. “In Belgravia, you’re buying a legacy; at Chelsea Barracks you’re buying a legacy and also a lifestyle.”

For members only

A private jet to Paris
Garrison Club has links with VistaJet, and can also book you lunch at the Le Grand Véfour.

Supervise your shopping
Staff are on hand to receive deliveries and will unpack your groceries.

Plan your birthday party
Complete with private chef, professional tablescapes and entertainment for the little ones by Sharky & George.

Find you a dog walker
Or a leading personal trainer, beauty therapist, nutritionist. Or a hairdresser, to come to the private salon in the spa.

Find a school place
The club has links to leading local private schools and can also find you a nanny and baby-sitter while they’re at it.

Find out more: chelseabarracks.com

This story was originally published in the Spring 2020 Issue.

Sea2See turns discarded plastic fishing nets into high-fashion eyewear

François van den Abeele had a dream – to turn discarded plastic fishing nets into high-fashion, hand-finished eyewear. People once laughed at him, but now, as he leads a swell of eco-entrepreneurs, his products are in increasing demand around the world. He tells LUX how he created an ecosystem around his brand, Sea2See

François van den Abeele

“My love of water sports nurtured a passion for the ocean and brought me to focus on the problem of plastic contamination in our seas. I had spent a lot of time reading about the degradation of our oceans, the problems surrounding marine plastic, and about the brands trying to implement circular economy in the way they produce.

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“I began to investigate ways of using plastic waste as a raw material to produce something that people would use and potentially wear. Sustainability is non-existent in the optical world; the main raw material used is plastic and 40 per cent of the population wears glasses. It was a perfect win, win, win.

“All this, along with a personal motivation to change my profession and do something positive with a sustainable impact culminated in the creation of Sea2See Eyewear.

“We have agreements with 27 ports in Spain, six in France and now we are starting in Ghana. We collect on average half a ton of plastic waste per day that we recycle to produce all of our optical frames in Italy.

“The market is changing, and consumers are more and more worried about the future we will leave to our kids. The proof is that in three years we are being sold in more than 2,500 optical stores across Europe and North America, and the numbers are growing.

Read more: Highlights from the 3rd edition of NOMAD St. Moritz

“People laughed at me four years ago when I had the idea of producing glasses with recycled marine plastic. Today we get calls daily from stores or brands that want our product or to collaborate with us.

“There is a global awareness that we must treat our planet better and consume differently, and Sea2See, thanks to its customers, is doing its part. Sustainable glasses will not change the world. People that wear them will.”

Discover the collections: sea2see.org

This article was originally published in the Spring 2020 Issue.

Ellerman House’s art collection features nearly 1,000 works

Hotels have long housed art collections, and now many are opening their own gallery spaces alongside art-focused programmes to offer guests unique cultural experiences. In his latest column for LUX, Abercrombie & Kent’s Founder Geoffrey Kent handpicks his favourite art hotels across the globe

Ellerman House, Cape Town, South Africa

Art lovers will delight in staying at this landmark hotel on Cape Town’s coast. Within the elegant Edwardian mansion of Ellerman House, close to 1,000 works of art reflect the changes in South Africa’s social and geographical landscape since the 1930s. Artists in the collection include John Meyer, Erik Laubscher, Jan Volschenk, Cathcart William Methven, and Pieter Wenning to name but a few. Guests can take a self-guided art tour with an electronic tablet providing insight into each piece. If you prefer, the in-house guide is on hand to take you around the extensive collection and beyond – guests can request guided excursions to the city’s local galleries, enjoying behind-the-scenes access and unmatched insight.

ellerman.co.za

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The bathroom of the Royal Suite at The Silo, Cape Town

The Silo, Cape Town, South Africa

A disused grain silo may seem an unlikely candidate for a museum and an art hotel. Yet, this imposing building on Cape Town’s V&A Waterfront has been transformed in recent years into a bastion for the African arts. The lower portion of the building is now my friend Jochen Zeitz’s eponymous Museum of Contemporary Art Africa. It’s home to the continent’s most extensive collection of contemporary African art. I’m proud to be one of its founding members and to support its primary aim of encouraging intercultural understanding. It’s a fantastic collection in an extraordinary building. Above, the museum is the beautiful Silo hotel in which I stayed for a few days before departing for the South Pole on one of my Inspiring Expeditions. The six storeys of luxury accommodation are brimming with curated artwork. The Silo’s owner, Liz Biden of The Royal Portfolio, has used the space to display her collection of African pieces. There are works by upcoming artists as well as more established names, such as Nandipha Mntambo, Cyrus Kabiru, and Mohau Modisakeng. The hotel even features its boutique gallery The Vault.

theroyalportfolio.com/the-silo

Hotel B is Lima’s first and only art hotel

Hotel B, Lima, Peru

For those of us who travel often, firsts are increasingly hard to come by, yet Hotel B is that rarest of things. Lima’s first – and only – art hotel is aptly situated in the city’s most bohemian district amid galleries and fashion boutiques. The building itself is brimming with character, converted as it is from a 1920s colonial mansion. Stay in this restored ‘grand dame’ to admire its private collection of more than 200 artworks, proudly displayed across the landings. Hotel B’s close relationship with nearby Lucia de la Puente Gallery allows guests to request private viewings easily; the gallery offers a fantastic insight into the world of contemporary Peruvian art.

hotelb.pe

Read more: In conversation with Iranian artist and filmmaker Shirin Neshat

‘Crouching Spider’ sculpture by Louise Bourgeois at Villa La Coste in Provence

Villa la Coste, Provence, France

The pastoral landscape of Provence is impossible to upstage, so the owners of Villa La Coste have sought instead to adorn it with dazzling flourishes of creativity. Throughout the biodynamic vineyard of Château La Coste and art hotel, sculptures are tucked amid verdant woodland, hills, and lawns – including works by acclaimed artists Ai Weiwei and Tracey Emin. You can enjoy a two-hour private art and architecture walk with the curator, learning all about the eclectic collection while taking in the beautiful Provençal countryside. Also, the hotel is home to its very own arts centre and hosts temporary exhibitions throughout the year. Stay here, and you’ll never be short of art to admire (nor home-grown wine to sip as you do).

villalacoste.com

MONA Tasmania offers visitors the chance to stay on the museum grounds in a contemporary pavilion

MONA, Tasmania, Australia

Set on the banks of the River Derwent, the Museum of Old and New Art (MONA) is Australia’s largest privately owned gallery and museum. It was masterminded by gambler and mathematician David Walsh and exhibits his diverse taste in art – from Ancient Egyptian relics to quirky dioramas. Whilst the museum isn’t strictly a hotel, visitors have the opportunity to stay in one of eight contemporary pavilions, each with its own unique character. As well as access to an enclosed lap pool, sauna, and gym, you’ll have a museum chock-full of eclectic and eccentric artwork right on your doorstep. Enjoy unfettered access to MONA’s permanent collection, and utilise its ‘O’ device during self-guided wanders to learn more about the art.

mona.net.au

Find out more: abercrombiekent.co.uk

Italian design studio Draga & Aurel’s ‘Mimetic Dialogues’ took inspiration from the Alpine setting of St. Moritz

Earlier this month, the invitation-only design fair NOMAD returned to St. Moritz for its third edition, showcasing collectible objects and furniture in the grand setting of Chesa Planta mansion. Rebecca Anne Proctor shares her highlights from the fair

Giustini/Stagetti Rome

Roberto Giustini and Stefano Stagetti’s gallery favoured a minimalist aesthetic to showcase pieces from Italian design masters such as Gio Ponti, Franco Albini and Gino Sarfatti alongside a selection of international contemporary designers. Andrea Anastasio‘s collection of glazed ceramic ‘blossoming’ white vases, Giacomo Moor‘s ash and olive wood desk, and Paolo Tilche‘s wicker chair were amongst our favourites.

Giustini/Stagetti Rome at Nomad St. Moritz

The Masters by Au Départ + Mazzoleni

Founded in 1934 as one of four original Parisian luxury trunk makers, Au Départ was reborn in 2019 with a fresh collection of products designed for the contemporary globetrotter. The NOMAD exhibition showcased the company’s collaboration with Mazzoleni art gallery, displaying a new line of bags alongside exclusive carpets by Illulian Design Studio that have shaped Au Départ’s physical environments since its launch. On the walls, were striking works by Italian post-war artists such as Agostino Bonalumi, Alberto Burri, Enrico Castellani and Lucio Fontana.

Draga & Aurel’s display featured resin-topped furnishings

Mimetic Dialogues by Draga & Aurel

Multi-disciplinary Italian design studio Draga & Aurel’s presented a unique display of sculpture pieces made especially for Nomad and inspired by the Alpine setting. We loved the glassy resin-topped stools and benches set on industrial cement bases.

Volumnia at Nomad St. Moritz

Volumnia

Gallerist Enrica de Micheli‘s newly opened art and design platform Volumnia presented a selection of renowned Italian design objects including a rare coffee table and lamp by Max Ingrand for Fontana Arte, Lady armchairs by Marco Zanuso for Arflex and a sofa by Federico Munari, alongside contemporary pieces such as a Mongolian fur carpet by Pier Francesco Cravel and Marcello Bonvini, and a chandelier by Simone Crestani and Davide Groppi.

Mercado Moderno at Nomad St. Moritz

Mercado Moderno

Rio de Janeiro-based Mercado Moderno presented voluptuous and earthy interiors from the likes of the Mameluca Studio, Gisela Simas, Gustavo Bittencourt and Inês Schertel. The most striking piece on display was the Cafofo Shelf by Mameluca Studio, which was custom-made for the exhibition space. Inspired by Brazilian natural diversity, the shelf offers an alluring multi-level assembly in various woods.

Find out more: nomad-circle.com

Atelier Zuhra’s latest collection “The Immaculate Flight of the Phoenix” showcased at London Fashion Week over the weekend. Image by Daniel John Cotton @cottonphotographer

Rayan Al Sulaimani is the female entrepreneur behind the growing couture fashion house Atelier Zuhra. Since its launch in 2015, Atelier Zuhra has had a growing presence on Hollywood’s red carpet. Following the launch of her latest collection at London Fashion Week, Emma Marnell speaks to the designer about fairytale dresses, timeless couture and her cultural heritage

Rayan Al Sulaimani

1. The brand is named after your grandmother – has she always been a style inspiration for you?

My grandmother Zuhra is a strong Omani woman with a great passion for living life to the fullest. Yes indeed, she has always been a style inspiration, but eventually through the years I have also developed my own unique sense of style.

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2. What led you to focus on evening wear and specifically, show-stopping dresses?

From a young age, it has always been my dream to dress celebrities for big red-carpet events in a fairytale like Cinderella gown or to dress a bride at her wedding and help her dreams come true. Hence, from the very beginning we have always focused on creating show-stopping dresses.

Atelier Zuhra’s LFW 2020 collection. Image by Garry Carbon @becauseimgarry

3. Can you talk us through the inspiration behind your LFW collection?

The collection is called “The Immaculate Flight of the Phoenix”.

In mythology the phoenix is a powerful bird which cyclically regenerates and is continually reborn over and over again in human legend and imagination. In the same way, this symbolises the beauty of ethereal everlasting couture as this immaculate bird represents the idea that the end is only ever the beginning.

Read more: Vik Muniz’s photography series for Ruinart

The LFW collection entwines beautiful tailoring with modern innovation and couture. The collection is brilliantly coloured in black and grey to represent the ashes of the phoenix. Contrastingly, its eyes are blue and shine like sapphires. Whereas the lilac and other ethereal playful colours are associated with the rising sun and fire, illuminating in the sky. Everything we have created in this collection is emphatically elegant and impeccably designed so that it looks like it would feel delightful to wear and to walk in.

Backstage at Atelier Zuhra’s LFW 2020 show. Image by Daniel John Cotton @cottonphotographer

4. How are your designs influenced by your cultural heritage?

Middle Eastern culture has definitely been a source of inspiration for all of our creations. Being born and brought up here [in Oman], I have grown up as a part of this beautiful culture, and knowingly or unknowingly it is somehow reflected in my designs. I would say the Middle Eastern influences are most recognisable in the silhouettes that we work with.

Atelier Zuhra LFW 2020. Image by Image by Daniel John Cotton @cottonphotographer

5. When you’re dressing down, what’s your go to outfit?

My personal style is very classic and chic.

6. Who would be your dream to dress for the red carpet?

Angelina Jolie, Blake Lively, the Kardashians and Scarlett Johansson.

Discover the collections: atelier-zuhra.com

Flow Diptych, Part 2 of 2 by Vik Muniz, for the 2019 Ruinart Carte Blanche commission and installed at the Ruinart Art Bar at Frieze London 2019

Brazilian photographer Vik Muniz has responded to Ruinart’s Carte Blanche commission by going back to the roots

“A photograph marks a moment in time,” says Vik Muniz. We sit surrounded by his latest photographic series, ‘Shared Roots’, in the Ruinart champagne bar at the 2019 Frieze London. “One way or another, everything fades and everything ceases to be. Photography is one way for you to hold on a little longer.”

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The Brazilian-born artist is fascinated by the fragile materiality of photography. “Visual technology broke a membrane, and the image became autonomous from any material relationship,” he says. “Our relationship to facts is getting more and more problematic. The idea of information, the idea of representation, is completely disconnected from tangibility, from facts. Psychologically, that has an effect. And, I chose to go in the opposite direction and make things that we have not lost. They require physical presence, they are heavy, even though they’re photographs.” The photographs around us are rooted in this physicality. Muniz used wood and charcoal to create temporary sculptures of hands clutching gnarled vines, captured in overexposed, grainy monochrome. “There is an architecture when you make art,” he says, “I find it quite pyramidal. The base of it has to be optical, haptic, sensory, perceptual. You have to have a physical reaction to it.”

Find out more: ruinart.com

This article was originally published in Spring 2020 Issue.

Cara Delevinge stars the ‘Oui’ collection campaign for Dior Joaillerie

Dior Jewellery’s Creative Director Victoire de Castellane continues to take inspiration from the language of love for the brand’s latest additions to the Oui collection. Chloe Frost Smith reports

Simple in sentiment and design, the latest additions to the iconic Dior Oui collection continue Victoire de Castellane’s tribute to the maison’s couture with two new romantic French phrases – Je t’aime and Toi moi – adorning a series of rings, necklaces, earrings and bracelets.

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The Toi moi earrings

Available in white, pink, and yellow gold, the letters ‘i’ and ‘j’ are dotted with solitaire diamonds in a whimsical handwritten font reminiscent of the signature Christian Dior stitching. The Je t’aime ring stretches across two adjacent fingers, whilst the Toi moi ring comprises two separate bands for each word. For an asymmetrical look, the Je t’aime and Toi moi earrings are made up of one word per piercing, allowing the wearer to mix and match.

The Je t’aime ring from Dior Jewellery’s Oui collection

The delicate necklaces and bracelets lend well to layering, alongside the finely threaded rings which can be stacked together with multiple messages on each finger. Whether combined or worn separately, the pieces make for an elegant statement accessory.

View the collection: dior.com

Shirin Neshat at home in New York City

Shirin Neshat’s devastatingly striking art combines dream, reality and an undercurrent of anger and sadness. As a major retrospective of her work is held in Los Angeles, Millie Walton meets the artist at the launch of her collaboration with celebrated Italian winemaker Ornellaia, famous for its artist labels

Portrait photography of Shirin Neshat at home in New York by Maryam Eisler

Iranian-born filmmaker and artist Shirin Neshat sits demurely drinking a cup of coffee in the palatial breakfast room at Baglioni Hotel Luna in Venice. It’s the morning after the Sotheby’s auction at the Peggy Guggenheim Collection which saw the sale of limited-edition bottles of 2016 Ornellaia wine with Neshat’s label artwork. A total of $312,000 was raised, with all profits going to the Mind’s Eye programme, which was conceived by the Solomon R. Guggenheim Foundation to help blind people experience art through the use of other senses.

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The success of Neshat’s collaboration, following that of William Kentridge’s in 2018, was well deserving of late-night celebrations, but the artist is composed and alert, her jet-black hair scraped tightly back from her face, and her dark eyes lined with black kohl. It’s a look that would seem somewhat severe or even theatrical on most, but Neshat wears it with authenticity, grace and a sense of homeliness. She pulls up another chair close to hers so that I can hear what she’s saying over the clamour of the breakfast buffet and tells me that she’s been ordering coffee to her room each morning and is worried that Ornellaia will have to foot the bill. Given the sum raised last night along with Neshat’s status as the world’s most important and widely recognised contemporary Iranian artist, it’s hard not to laugh, but she speaks softly and sincerely, taking time to consider each of her answers and apologising when yet another admirer interrupts for an autograph. She has a lot of fans it seems, yet her politically engaged work continues to generate debate. She admits, “Some people dislike what I do. There are a lot of people who hate my work in Iran, but still it is discussed, so I think I’m relevant.”

Here and above: stills from Neshat’s video Rapture (1999)

Neshat was born in the city of Qazvin, north-west of Tehran, but left for California at the age of 17 to finish her schooling. Her training as an artist began with her undergraduate and masters degrees in fine art at the University of California, Berkeley. However, she abandoned art-making and moved from Los Angeles to New York in the early 1980s. It was a decade later, through photography first and then film, that she found her artistic vision. She has now been working as an artist for more than 30 years and has won numerous international awards, including the Golden Lion at the 1999 edition of the Venice Biennale for her powerful short film Turbluent, which explores gender roles and social restrictions in Iranian culture. The film plays out on two screens: one shows a male performer singing a love song by the 13th-century Persian poet Rumi to a large audience of men, whilst on the other screen, a veiled woman waits in an empty auditorium, her back turned to the camera. When the man’s performance finishes, the woman begins a wordless song of guttural cries, mournful melodies, panting and animalistic screeching. This film was not only significant in establishing Neshat’s career, but also in paving the way for her succeeding works, which all, in one way or another, deal with the restrictions of female experience. Though embedded in narratives of conflict, Neshat’s work offers a sense of hope in which women find freedom through art in all its various guises.

Neshat’s designs for Ornellaia’s ‘La Tensione’ bottle label

Neshat with Ornellaia’s estate director Axel Heinz

Given these preoccupations, the artist’s decision to collaborate with Tuscan winemaker Ornellaia is somewhat baffling. “In our culture, wine is a way not to escape, but to transcend reality and so [drinking wine] is a sacred, spiritual act,” says Neshat. “But in general, I feel like an occasional step out of your own milieu is actually very positive. For one thing, it puts your work in front of a new audience, but also, for me, [commercial work] is an attractive way of financing my projects. I make work that takes me six years and I make zero money so I think that any patronage that finances your practice and gives you the freedom to do your work is great.” Her series of images for Ornellaia, interpreting the theme ‘La Tensione’ which gives this vintage its name, depict white hands inscribed with Persian script, luminous against a black background. The use of hands, along with literature and monochromatic shades are all typical of Neshat’s aesthetic and imbue the work with a haunting, dreamlike quality. “I’m very interested in the subtlety of body postures and how they can reveal emotion, especially coming from the Islamic tradition and how provocative and problematic the body can be,” she says. “There’s a certain universality about hand gestures.” She places one palm against her chest: “This, for example, could be love”.

Ibrahim (Patriots) from The Book of Kings series (2012) by Shirin Neshat

The work is reminiscent of Neshat’s first series of black-and-white photographs, entitled Women of Allah (1993–97), which was created following the artist’s return to Iran in 1990, her first visit following the 1979 Islamic Revolution. When Neshat arrived back in Iran, it was in the wake of dramatic cultural changes. Women of Allah not only marked the rebirth of her making art, but also her engagement with the country’s political landscape – an engagement which led to her current state of exile. The series focuses on female martyrdom, showing veiled women holding weapons, their faces, hands and feet again inscribed with Farsi poetry, highlighting the revolutionary Iranians’ dual identities as both Persians and radical Islamists, as well as the tension between devotion and violence.

Read more: Introducing the next generation of filmmakers at Frieze LA

Her practice continues to be preoccupied with contrasts, highlighted by the minimalism of black and white, but also with conflict. “There are plenty of artists whose making of art is an aesthetic exercise, which is important because it has intellectual and artistic values of the highest level,” she explains. “But for artists born to a country like Iran, the relationship to art is personal in a way that it cannot be separated from daily realities. I don’t think we have the emotional capability of distancing ourselves from these issues, and it is an incredibly fulfilling process when you make work that is politically conscious. It also means that you have a relationship with an audience that is larger than the [usual] art audience because people are able to identify with the subject matter.”

Despite Neshat’s acute political engagement, her work has a sense of timelessness achieved by incorporating literature and music as well as elements of the surreal. “Music is very existential,” she says. “It sort of neutralizes a political reality, but it also contains all these cultural references and has a strong physical impact. Powerful music affects your heart.” This is perhaps most apparent in Turbulent, which was inspired by a young blind woman who Neshat saw singing on the streets of Istanbul. Many of her works have involved collaborations with composers and musicians as well as writers and cinematographers. “It’s an essential part of my work to collaborate, especially with people who know me and my work well,” she says. “I’m doing a lot of work in media that I never studied. It’s been really interesting to surround myself with people who have the expertise.”

The artist in her studio

Neshat’s artistic ‘family’ is international, but she has gravitated towards other Iranians in New York: “I am sitting on the outside [of Iranian culture], others are by choice and others not; either way, we’re naturally drawn to each other and spend a lot of time helping each other. I do feel integrated in American culture as far as the artwork goes, but I can also see the limitations of not being Western, when your practice is considered to be a little bit outside the box.” Reflecting this duality, Neshat curated ‘A Bridge Between You and Everything’, an exhibition of Iranian women artists held at the High Line Nine Galleries in New York in November 2019.

Raven Brewer-Beltz (2019) by Shirin Neshat

Neshat has called New York her home for many years, but her latest project, Land of Dreams, is the first time that she has directly turned her artistic attention towards the US. The project explores her experiences of being an immigrant, focusing on an Iranian woman who collects dreams that portray American people and takes them back to an Iranian colony for analysis. The project is now being shown for the first time as part of Neshat’s major retrospective ‘I Will Greet the Sun Again’ at The Broad in LA, and one wonders at the colony’s interpretations. “It’s kind of an absurd comedy,” she laughs, “but it was also [about] how to tackle a very important political subject – the antagonism between the two cultures as well as the corruption on both sides – through a human surrealism so that it escapes absolute realism. I want it to be timely, but I don’t want it to have no value in a hundred years’ time.” Are these surreal imaginings ever drawn from Neshat’s own dreams? “Yes, I try to write down my dreams every time I wake up. I like how ephemeral dreams are. My work is like the story that comes after.”

‘Shirin Neshat: I Will Greet the Sun Again’ is on show at The Broad, Los Angeles until 16 February 2020: thebroad.org.

Shirin Neshat ‘Land of Dreams’ opens at the Goodman Gallery in London on 20 February and will run until 28 March 2020. For more information visit: goodman-gallery.com

This article was originally published in the Spring 2020 Issue.

Construction view of Los Angeles Water School (LAWS) (2018) by Oscar Tuazon

Artists have long explored themes of environmental sustainability in Southern California, but a recent series of devastating wildfires has brought even greater resonance to their work. Evan Moffitt explores how four LA artists are changing the way we think about climate change

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

When the Getty Fire tore up the dry hills of Mandeville Canyon in October 2019, many in Los Angeles feared the worst: the Getty Center’s Titian and Thomas Gainsborough paintings curling from their frames, masterworks of European art reduced to cinders. This wasn’t the first time locals had imagined such a catastrophe – Ed Ruscha had painted his iconoclastic portrait of the county museum, The Los Angeles County Museum on Fire, in 1968 – but this time, it was different. The severity and frequency of wildfires had increased as climate change accelerated, threatening not just art in Southern California but the very way of life there.

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Scientists, furthermore, have warned that the city could eventually run dry, and nothing has shaped LA more than its lack of water. The Department of Water and Power was long seen as the most powerful bureau of city government, dating back to when William Mulholland drained the Owens Valley in 1913 to soak the dry fields of San Fernando. The violent conflict that ensued was famously fictionalized in the 1974 film Chinatown, and many artists have explored the city’s relationship with water, from Judy Baca’s epic mural along the Tujunga Wash, The Great Wall of Los Angeles (1974–84), to more recent projects by artists such as Carolina Caycedo and Oscar Tuazon.

This work can be difficult, but it has struck an important nerve. “Most of our patrons are museums or their supporters who want to engage in dialogue with challenging contemporary art,” says Kibum Kim of Commonwealth and Council, the gallery that represents Caycedo. “They don’t want something that is easy.” For Caycedo, this has led to being included in shows at major institutions such as the Hammer Museum in LA, as well as having works in a number of private collections. Artists such as her are a reminder that Southern California has always been a place where artists, writers, filmmakers and others have mobilized around difficult issues, mining the past to build a better future.

Wagon Station encampment at A-Z West (2004) by Andrea Zittel

No one embodies the utopian spirit of LA more than Andrea Zittel. In 2000, the artist left a burgeoning career in New York for a ramshackle bungalow on the outskirts of Joshua Tree National Park. She began slowly expanding her compound in the desert, informed, in part, by the Bauhaus, Japanese architecture, minimalist sculpture and architect Frank Lloyd Wright’s Taliesin West. A-Z West, as the 60-acre campus is known, encompasses Zittel’s home and studio, guest cabins, outdoor sculptural installations, informal classrooms and a series of Wagon Stations, tiny chrome sleeping pods nestled between boulders like UFOs.

Read more: Picasso Through the Lens of David Douglas Duncan at Hauser & Wirth in Gstaad

Zittel refers to A-Z West as “an evolving testing ground for living – a place in which space, objects, and acts of living all intertwine in a single ongoing investigation into what it means to exist and participate in our culture today.” In part, this means creative, sustainable approaches to the privations of living in the desert. Zittel pulps her paper waste and sets it to dry in metal trays called the Regenerating Field; she uses the results to make sculptures. Vegetables grow from barrels shrouded by mosquito netting in a courtyard formed by shipping containers. Shade is provided by trees watered using dry irrigation techniques.

Installation view of ‘Rafa Esparza: Staring at the Sun’ at Massachusetts Museum of Contemporary Art, 2019

What ecological problems might be solved by building better? Like A-Z West, Oscar Tuazon poses this question with his Water School (2016). Its central component, Zome Alloy (2016), borrows its bubble-like plywood structure from the waste-free dome homes designed in the 1960s by Steve Baer, the inventor of passive solar technology. Tuazon’s project also refers to another LA visionary, the architect Buckminster Fuller, best known for his transparent geodesic greenhouses and light-filled homes. When Zome Alloy was recently on view in the Chicago Architecture Biennial, visitors could browse a small library of books about water rights and convene for bimonthly discussions.

Read more: Gaggenau’s head of design Sven Baacke on the meaning of luxury

For several years, Caycedo has explored the effects of colonialism and industrialization on water resources throughout Latin America with her ongoing project ‘BE DAMMED’. At the 2016 São Paulo Biennial, four enormous satellite images of controversial Brazilian dams revealed the structures’ disastrous effects on the surrounding landscape. Caycedo hung brightly colored sculptures woven from fishing nets, which she calls Cosmotarrayas, mesmerizing mobiles linking the precariousness of marine resources to the over-fishing that threatens the life within them. “There’s been great demand for Carolina’s Cosmotarrayas, which have immediate visual power,” says Kim. “They’re colorful, and they play into generally accepted ideas about sculptural composition and form. But they also carry a powerful message.” Caycedo says she doesn’t believe in sustainability, per se: “Extraction will never be sustainable. A coal mine is not sustainable. The way we use our water is not sustainable. I prefer to think about ‘sustenance’ in terms of my work and a healthier relationship to nature: to give strength to something you care about or someone you love.”

Installation view of ‘Wanaawna, Rio Hondo, and Other Spirits’ (2019) by Carolina Caycedo at Orange County Museum of Art, Santa Ana, CA

In 2014, artist Rafa Esparza began making adobe bricks from mud he harvested on the banks of the Los Angeles River, on a parcel of land known as the Bowtie – one of the only sections of the river left unpaved by the Army Corps of Engineers when they buried the channel in concrete in 1936. In 2014 the artist Michael Parker had carved a 42m obelisk into the earth that Esparza covered with approximately 1,400 of his bricks. During the installation’s closing performance, he donned a traditional Aztec loincloth, pheasant headdress and ankle rattles and performed a dance atop the structure that referred both to his ancestral people and the indigenous Tongva displaced from the river’s edge by colonialism. Adobe and thatch are among the most sustainable building practices on earth, but the indigenous people who used them were killed or forced from their land, which was then torn up to build LA. Esparza has since repurposed his bricks for shows, including at the Whitney Museum of American Art, in what he refers to as “browning the white cube”.

This has had its challenges, according to Kim, who represents Esparza: “Adobe is very structurally strong, but it’s not archival; it will deteriorate over time, which can be hard for some collectors and institutions to accept. But that’s an important element of Rafa’s work: we need to re-conceive our notion of art as a static thing that will forever remain the same.” By imagining cities like LA and their museums made of mud and river water, Esparza places the environmental costs of colonialism into stark relief, proposing, if not a return to a precolonial past, at least a few important lessons we might learn from.

This article was originally published in the Spring 2020 Issue.

Ghetto Film School Roster brings together students and industry for a film competition screening and artist showcase of GFS alumni work, here at the Museum of the Moving Image, New York, 2017

The inaugural Deutsche Bank Frieze Los Angeles Film Award at 2020’s Frieze Los Angeles recognizes ten young filmmakers who have been nurtured by Ghetto Film School. Maisie Skidmore meets the storytellers behind the camera

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

More than a century has elapsed since Paramount Pictures was established in Hollywood in 1913. Since then, the studio lot has grown somewhat, from the original 26 acres to no fewer than 65 today. The scene itself has altered entirely, with thousands of movies and television shows coming to fruition on its hallowed grounds.

The studio’s iconic logo, on the other hand, remains almost entirely unchanged. The snow-topped mountain-scape studded with an arc of 22 stars is one of the protagonists in the rich movie history of Los Angeles. It’s woven into the very fabric of the place; the city has grown up around it, producing writers, artists, filmmakers and plenty more. So, what better place than Paramount Pictures Studios to house Frieze Los Angeles, when the international art fair opened its inaugural edition in the city in February 2019?

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Non-profit organization Ghetto Film School has taken a similar trajectory to that of Frieze, in that it has opened its own LA outpost in recent times. GFS, as it is known, was first founded as a small after-school program in the South Bronx by former social worker Joe Hall some 20 years ago, with a view to introducing narrative filmmaking to youth programs in New York, particularly in low-income areas. “Ghetto Film School was founded on the premise of providing a robust, long-lasting platform for a new generation of storytellers, bridging the gap between in-class curriculum and hands-on experience in the entertainment industry,” explains Sharese Bullock-Bailey, its chief strategy and partnership officer. GFS has evolved exponentially, educating, developing and celebrating the next generation of great American storytellers. Since 2017 it has opened a third outpost, in London.

Ghetto Film School students filming in South Africa

Founder and president of the GFS, Joe Hall

In view of the long history of the film industry in Los Angeles, the city provided a natural second home for the organization in 2017. The GFS has continued to forge a pathway into the film industry and beyond for its students ever since. “There is so much more to GFS outside of fostering behind-the-camera filmmakers,” Bullock-Bailey continues. “Our partners, who provide GFS students with immeasurable support, have been key at introducing them to other related avenues within the creative world. Outside of filmmaking, our graduates have gone on to become advertising producers, writers, studio executives, and set designers.”

Now, the next generation of Los Angeles’s filmmaking talent is set to receive a further boost. In the summer of 2019, Frieze and Deutsche Bank launched the inaugural edition of the Deutsche Bank Frieze Los Angeles Film Award, a new competition created in collaboration with Ghetto Film School. Ten aspiring and emerging filmmakers were offered a unique platform and an intensive four-month development program through which to produce their own short films, inspired by LA’s artistic, social and cultural landscape. The winning filmmaker, who receives an award of $10,000 at a ceremony in the Paramount Theatre during Frieze Los Angeles, is chosen by a panel of leading figures in contemporary art and entertainment. The award is showcased at the Deutsche Bank Wealth Management Lounge at the art fair, and its launch coincides with the 40th anniversary of the founding of the Deutsche Bank Collection of art.

Read more: How Adrian Chen’s K11 MUSEA is changing Hong Kong’s cultural scene

Naturally, LA is a rich and fertile subject area for the students of the Fellows Program of the GFS to draw on. “The history of Los Angeles is built on the confluence of disparate visions for the city and its future, something that made the energy and community support at the first Frieze Los Angeles so palpable,” says Bettina Korek, the executive director of Frieze Los Angeles. “To be able to support these emerging local filmmakers in depicting our city’s current world, and showing how the medium of film has grown alongside it, is a privilege for us and our partners at the Paramount Theatre, Deutsche Bank and Ghetto Film School. I can’t wait to meet the Fellows and to see how they envision Los Angeles.” Thorsten Strauss, the Global Head of Art, Culture and Sports at Deutsche Bank, echoes her sentiment. “We are delighted to be working with Frieze and Ghetto Film School on this exciting new film award,” he says. “It’s a natural step in our ever-developing partnership with Frieze to start this project together and support emerging LA storytellers.”

Mya Dodson, a GFS alumna and below, Dodson at Film Independent’s GFS Shorts screening, LACMA in Los Angeles, 2016

The Fellows, whose own cultural heritage reaches far and wide, have turned to their respective experiences of the city for their films, and the breadth of their concepts reflects the extraordinary diversity inherent to LA. They looked to the recent plague of fires (in the case of Nabeer Khan), the ubiquity of smartphones (for Nicole Thompson), and the wrenching unease of a displacement from, and subsequent return to, their home (for Silvia Lara). In each case, poignantly, the school’s Fellows share a profound and at times all-consuming desire to tell their story. They also all seem to share a hope that, in so doing, they might carve out a space in which others are able to make their own voices heard too.

GFS’s alumni, who are now scattered throughout the film industry and beyond, are testament to the program’s effectiveness. “Ghetto Film School is more than a non-profit mission statement,” says Luis Servera, a writer and director who graduated from the program in 2004. “It is family.” Servera has been part of the organization for all of his adult life, he says, proudly witnessing and contributing to its rapid growth. “It’s a bit surreal, but not surprising at all. GFS is destined to be a significant and influential catalyst in all things media.”

The Deutsche Bank Wealth Management Lounge at Frieze Los Angeles, 2019.

How has Ghetto Film School seen such success? “They understand the power of storytelling and the power of the storyteller, no matter what their background is,” Servera continues. “They also realize that education and opportunities to those with limited access are essential to cultivate and nurture unseen talent.” What’s more, he continues, given the current climate in the industry, the work GFS is doing has the potential to reverberate for decades to come. “In a time when trending words such as ‘diversity’ and ‘inclusion’ seem to be at the forefront of keynotes and boardroom meetings, I find it curious that a small non-profit organization that started in the South Bronx is the solution to a problem that a massive industry is having.”

Read more: Francis Alÿs receives Whitechapel Gallery’s Art Icon Prize 2020

To see the short films that have been months in the making viewed and judged at a Frieze art fair – one of the core events in the art world – will, of course, be of no small moment for the young filmmakers. The Deutsche Bank Frieze Los Angeles Film Award marks the first milestone in each of these storytellers’ own narratives; where and when the next one will be, we will just have to wait and watch.

THE 10 SHORTLISTED CANDIDATES

ALIMA LEE
“After watching Sun Ra’s Space is the Place, I had a dream about a portal that looked like an empty doorway appearing in different parts of the city. The portal allowed black and indigenous people to escape to a planet where they could be safe. I revisited this concept in my short film, to explore a story line about how a girl comes across this portal and about why she intends to use it.”

DANIELLE BOYD
“I was inspired by Shirin Neshat’s fearless ability to convey her feelings about being exiled from her home. I was also inspired by the colorful cultures in LA, and how they create the city’s identity. I was going to Africa for the first time and began feeling this sudden vacancy about my African American identity. I began to see more clearly how the miseducation of African Americans can affect us and the way we interpret our own history, and ourselves.”

MICHELLE KIM
“The idea for my short emerged from this mental process of recognizing what moved me about LA and what felt significant. I reverted back to my childhood and the places I’ve grown up in, such as the car wash near my dad’s work, the liquor store in the strip mall. These sites are as sacred to me as they are banal to others, and the intention behind my short is based on visually sanctifying these places.”

NABEER KHAN
“I knew that I had to make my film about the recent Los Angeles fires. I asked myself how these fires were starting. That question, combined with my interest in psychology, led me to the concept for my film. I wanted to explore the power of grief and its progression to rage. In this film, I seek to apply this idea to our relationship with nature and the ongoing destruction of our Earth.”

NICOLE THOMPSON
“The concept for this film came to me while riding a train through the city and seeing so many people wrapped up in their phones. I decided to tell a story about when a young boy is forced to move to LA and stay at his grandparent’s house for the summer. He tries to convince his mom to not leave him there, but she has to travel for work. Left with no friends, Wi-Fi, or games he explores the house, discovers a magical book, and goes on an adventure traveling through different dimensions.”

NOAH SELLMAN
“I was watching surreal YouTube videos and saw in one of them an animated dreamscape made of Coke products. I started to wonder if that was possible. When I moved to LA, I was struck by the branding that covers the city. There is barely a blank surface anywhere. It was a lot for someone from a small town. Watching Shirin Neshat’s shorts, I realized the dreams could be abstract. Then I knew I had an idea.”

TIMOTHY OFFOR
“Spike Lee’s Jungle Fever was the first time I saw characters that I knew – not physically, but in character. I knew people just like them. I’ve dreamed of sharing my stories with the world ever since. The idea for my film originated during a debate with a friend about fear. We were discussing whether people are afraid of success or failure. Through that I developed a concept centered on dreams, fear and our willingness or unwillingness to overcome it.”

TORYN SEABROOKS
“I love comedy and there is nothing funnier to me than an uncomfortable situation. When you’re trying to impress a person, you do things outside of your character and find yourself in the middle of cringeworthy moments. I wanted to tell this story to point out a darker truth I’ve grown to understand about idolatry within Hollywood, and what we’re willing to do to be accepted and seen by the people we admire.”

SILVIA LARA
“I’ve always wanted to see my city, Whittier in LA, portrayed the way I feel it deserves to be seen. I had lived elsewhere before but didn’t realize just how special it was until I up and moved across the country to New York and then returned. It contrasted so much that it made me appreciate aspects of this quiet suburb on the edge of LA. And it’s not as quiet as it seems.”

MYA DODSON
“The concept for my film came to me in a vision while visiting family in Korea earlier this year. My sister had recently encouraged me to ‘move in love, not in fear’ – a motto that set the tone for my entire year. I was listening to frequencies when an affirmation came over me, and thus, Cosmic Affirmation was born. I saw the film as a representation of how I’m overcoming fear in love.”

THE JURY

Doug Aitken, contemporary LA-based artist
Claudio de Sanctis, Global Head of Deutsche Bank Wealth Management
Shari Frilot, Chief Curator, New Frontier at Sundance Film Festival
Jeremy Kagan, director, writer, producer and professor
Bettina Korek, Director of Frieze Los Angeles
Thorsten Strauss, Global Head of Deutsche Bank Art, Culture & Sports
Sam Taylor-Johnson, artist and film director
Hamza Walker, Director of LAXart

Find out more: ghettofilm.org

This article was originally published in the Spring Issue 2020.

Picasso and ceramic (owl) by David Douglas Duncan (Spring 1957), Villa La Californie, Cannes © David Douglas Duncan © Succession Picasso/DACS, London 2019. Courtesy the estate David Douglas Duncan

For a special exhibition at Vieux Chalet in Gstaad, Hauser & Wirth brings together ceramics and paintings by Picasso alongside a series of portrait photographs by David Duncan Douglas to provide a fascinating exploration of creativity, intimacy and space.

Follow LUX on Instagram: luxthemagazine

Duncan himself was a renowned war photographer and photojournalist, who first encountered Picasso in 1956 when he  infamously rang the doorbell of La Californie, the artist’s home in Cannes. At the time, Picasso was in the bathtub and allowed Duncan to photograph him right then and there, leading onto a lasting friendship which granted the photographer unprecedented access into the artist’s creative processes. Over the course of seventeen years, Duncan took approximately 25,000 images of Picasso, documenting not just Picasso himself, but also his family and friends.

Battle between Claude and his father wearing Gary Cooper’s cowboy hat by David Douglas Duncan, July 1957, Villa La Californie, Cannes © David Douglas Duncan © Succession Picasso/DACS, London 2019. Courtesy the estate David Douglas Duncan

Pablo Picasso with the portrait Jacqueline à l’écharpe noire (1954) by David Douglas Duncan, 1957, Villa La Californie, Cannes © David Douglas Duncan © Succession Picasso/DACS, London 2019. Courtesy the estate David Douglas Duncan

Duncan’s photographs and Picasso’s artworks are displayed side by side throughout the domestic spaces of the chalet, emphasising the intimacy of the photographic perspective as well as the connection between the two distinct artistic mediums. In some of the images, Picasso is seen actively engaging with the lens whilst others are more candid, showing the artist amongst his easels, books, brushes and paints.

Read more: How Galerie Maria Behnam-Bakhtiar aims to inspire change

Bearded man’s head (1948) by Pablo Picasso © Succession Picasso/DACS, London 2019Courtesy Succession Picasso

The artist’s ceramics are amongst the most captivating works on display, as everyday objects such as bowls and vases are transformed into animal-like creatures through warped swollen shapes and dynamic painted lines. Seen alongside Duncan’s photographs, Picasso’s creative energy becomes even more palpable as does the friendship between the two artists caught in subtle gestures and glances.

‘Picasso Through the Lens of David Douglas Duncan’ runs until 28 February 2020 at Le Vieux Chalet in Gstaad. For more information visit: hauserwirth.com/hauser-wirth-exhibitions/26682-pablo-picasso-lens-david-douglas-duncan

The Gaggenau stand at the EuroCucina 2018 exhibition

Stephen Bayley

Of all rooms in the house, kitchens demand the best design for function as well as looks. Cultural critic Stephen Bayley reveals their modernist origins and meets kitchen appliance-maker Gaggenau’s head of design Sven Baacke to talk about his design thinking, what luxury means and the poetry of fridges

No-one is ever going to want a virtual dinner. The one thing electrons, sensors, code, AI, VR and haptics will never provide is a perfectly executed, steaming hot perdiz estofada Casa Paco, a Madrileño classic with fumes of wine, garlic, onions and bacon, garnished by an improbably big handful of parsley. Not to forget its ideal companion, a perfectly chilled 2016 Finca Allende white from Rioja.

For this reason, the domestic kitchen with its hob, oven and fridge will always remain a part of civilised life. App-driven delivery services may flourish on their wobbly bicycles, but they have more effect on the precarious margins of the traditional restaurant trade than the home cook with his gastronomic library, bleu de travail pinafore and wooden spoon.

Follow LUX on Instagram: luxthemagazine

Despite changing behaviour – going out, staying in, hot yoga, crazy exercise regimes, fasting and peculiar diets – the kitchen is a remarkably resilient feature of building design. Although some experts estimate that New Yorkers spend 130 per cent more on eating out than other Americans, the fact remains that every new apartment in Manhattan is still equipped with an impressive new kitchen.

Gaggenau’s head of design Sven Baacke

And that probably means a new German kitchen. Like the German car, the German kitchen has reached a global archetypal status that Carl Gustav Jung would have appreciated and understood. Never mind that the same new German kitchen in that vertiginously tall apartment building on East 57th street is rarely used and never contaminated with actual hot food, it is a powerful and universally understood status symbol. Why? Because the design and manufacture of a kitchen and its equipment combine the disciplines of architecture and industrial design at which, at least in the modern era, Germans have so excelled.

It was in 1926 that Grete Schütte-Lihotzky unveiled her Frankfurt Kitchen, a functionalist masterpiece designed for that city’s ambitious socialist housing programme. Exploiting industrial processes and materials, it was tiny, ergonomic, modular, intelligent. It was everything the Bauhaus claimed but often failed to achieve.

The Vario 400 refrigerator

True, the American dream kitchen, with its pastel-coloured and chrome-plated laboursaving appliances attended by a blonde model in a flared and pleated A-line skirt, presented consumers with an alternative in the 1950s and 1960s, but the Frankfurt Kitchen set the enduring design standard. So much so, that examples are in the permanent collections of New York’s Museum of Modern Art and London’s Victoria and Albert Museum.

The Frankfurt Kitchen from the 1920s

In a nicely paradoxical way, this austere design language has become the ultimate luxury product. This is because luxury today is not about excess or vulgarity, but of having time to spare for, among other things, cooking.

Now, I want you to imagine Sven Baacke riding his adored 1962 Lambretta scooter, a machine he enjoys dismantling and reassembling, around Munich. Baacke is the Gaggenau designer. He was born in 1974 and attended the Staatlichen Akademie der Bildenden Künste in Stuttgart.

This is an inspirational city for a design education. At the beginning of the last century, the local museologist Gustav Pazaurek organised an influential exhibition called ‘Geschmacksverirrungen im Kunstgewerbe’ (Errors of Taste in Design). Pazaurek hated fuss and admired logic. And in 1927, the great Mies van der Rohe participated in Stuttgart’s magnificent Weissenhofsiedlung, or Weissenhof Estate, a real-life demonstration of architectural possibilities embodied by the International style.

Today, Baacke says his favourite building is Mies’s pavilion built for the 1929 International Exposition in Barcelona. And, of course, Stuttgart is the city of Porsche and Mercedes-Benz, with all the industrial discipline and design prowess that suggests. And if Baacke’s new home is Munich, remember this is the territory of BMW, a company that made its reputation through design as much as through automatic self-levelling suspension.

All these architectural and design influences I think can be seen in Gaggenau, but I wanted to check this thought with Sven Baacke. So, I asked him.

Stephen Bayley: Is there such a thing as ‘German Design’?
Sven Baacke: Of course. We have the Bauhaus. And Gaggenau has been in the Black Forest for more than three hundred years. There’s nothing more German than the Black Forest! But at Gaggenau, while we certainly admire precision, we have soul as well. That’s not something you’d dare admit to a German engineer!

The Weissenhofsiedlung, designed by Mies van der Rohe, 1927

Stephen Bayley: What’s your approach ?
Sven Baacke: I reduce everything to the essentials, but do not remove the poetry. To me, a fridge is architecture. There are so many variables involved, so many different criteria. But everything comes together in a well-balanced kitchen. One thing is certain – I like open spaces, not closed doors.

Stephen Bayley: How do you define luxury?
Sven Baacke: Luxury is not so much about owning things. I don’t like to talk about Gaggenau as a luxury brand. In any case, luxury is culturally determined. If you live in a Chinese city, the ultimate luxury is fresh air. In Tokyo, it is space. For us Europeans, luxury is a personal thing. It is subtle. It is personal. It is about experience. And especially the experience of cooking, taking time to buy ingredients and spending time with friends.

Stephen Bayley: And are you a good cook?
Sven Baacke: Ah, but what is ‘good’? Certainly, I do not like baking because it is all about chemistry. I prefer to be intuitive. I love being in Sicily because the produce is so good that you hardly need to change it.

A Gaggenau wine cabinet at the EuroCucina exhibition

A Gaggenau kitchen design incorporating a Vario 400 series oven

Stephen Bayley: So, would you agree with [cookery writer] Marcella Hazan when she said, “I don’t
measure, I cook”?
Sven Baacke: Yes!

Stephen Bayley: Does good design last forever?
Sven Baacke: Yes. I admire Apple, but a first-generation iPhone is now obsolete. Our 90cm oven has been on the market since the eighties. It’s an investment, not an indulgence!

Stephen Bayley: Where do you find inspiration?
Sven Baacke: I like the oak cutting-board I recently bought at Margaret Howell in London. And I have just bought an electric Audi, but I also want to buy an old Porsche Targa or an original 1959 Mini. I am in love with combustion engines, but this is not a technology that’s going to get us to the next generation.

Mies van der Rohe’s Barcelona Pavilion

Stephen Bayley: What about the Frankfurt Kitchen?
Sven Baacke: My grandma had something like it. Very German. But its successor was Otl Aicher’s book Die Küche zum Kochen (The Kitchen is for Cooking) which inspired me at college. Aicher was the designer who gave BMW and Lufthansa graphics their amazing clarity.

Stephen Bayley: What new technologies will influence cooking in the future?
Sven Baacke: Revolutions are very rare. Cooking will always be an analogue activity. Look – we are not going to the moon, so I think future improvements will come from better manufacturing. And from a better understanding of how, for instance, we can make cleaning easier. Perhaps we will be able to make equipment disappear from view when not in-use.

Stephen Bayley: You have ten designers working at Gaggenau. What do you tell them?
Sven Baacke: Well, you have heard of forecasting. We have this intellectual game I call ‘back-casting’. I ask my designers to jump into the distant future and then jump back to the near future. And, with the jumping concluded, we both firmly agreed that the idea of wanting to save time in the kitchen was ridiculous, because wherever else would you ever want to be other than in a well-designed kitchen?

Find out more: gaggenau.com/gb

This article was originally published in the Spring 2020 Issue.

The gallery’s founder Maria Behnam-Bakhtiar in front of a painting by Farzad Kohan in the exhibition ‘Human Being, Being Human’

Galerie Maria Behnam-Bakhtiar, a new gallery in the heart of Monaco, celebrates its opening with an exhibition of works by Iranian-American artist Farzad Kohan, but it is no ordinary commercial enterprise, as Rebecca Anne Proctor discovers

A visit to Monte Carlo is like stepping inside a gallery filled with glistening works of art. The picturesque town, with its expansive sea views, its numerous neatly landscaped gardens, countless restaurants, luxury boutiques and cultural institutions, continues to fuse its regal past with its new contemporary character.90

Entering this mix of glamour and culture is a new art gallery, Galerie Maria Behnam-Bakhtiar, which opened its doors in December 2019. Named after its founder, the art collector and wife of artist Sassan Behnam-Bakhtiar, the gallery is dedicated to contemporary and modern art and highlighting works by established and emerging international artists.

Follow LUX on Instagram: luxthemagazine

While the Behnam-Bakhtiars are known for their support of the Iranian art scene, particularly through the Fondation Behnam-Bakhtiar, where Maria holds the role of curator of the permanent collection, Galerie Maria Behnam-Bakhtiar will not limit its exhibitions or roster of artists to any particular culture or nationality. “The nationality of an artist is not what is important; what is crucial is the art and what the artist is trying to say. My mission is to show established and emerging artists from all over the world,” Maria says. The art and objects on show will be specially curated and exclusive to the gallery.

Located close to the Nouveau Musée National de Monaco at the Villa Sauber and to the Grimaldi Forum (which hosts the annual artmonte-carlo art fair), the gallery has placed itself at the heart of the city’s art centre. “Monaco is such a great place for art and culture,” says Maria. “Moreover, here in Monaco we have a wonderful group of collectors, some based locally and others who return regularly. We aim to add a new and exciting dimension to the Monaco art scene with our diverse programming.”

Installation shot of Farzad Kohan’s exhibition ‘Human Being, Being Human’ at Galerie Behnam-Bakhtiar in Monaco

Monaco offers a particular segment to the European art market. “It boasts highly influential residents and visitors who provide the perfect platform and exposure for our artists,” adds Maria. “And, for generations, the Prince’s family in addition to the government of Monaco have been great supporters of the arts.” Anyone who knows the city will be familiar with its buzzing social life, its numerous galas, operas, ballets and art exhibitions. “It’s wonderful that we will now be a part of this exciting agenda,” adds Maria. “It’s a place where you can really foster connections.”

Read more: Audemars Piguet’s Olivia Giuntini on art and women’s watches

Maria has been on the international art scene since 2009, firstly through the Fondation Behnam-Bakhtiar, established to promote emerging and established Iranian artists, and secondly as a collector. “I have been collecting art and supporting artists for a long time and this gallery is a way for me to further solidify my love of art,” says Maria, who has also hosted multiple non-profit functions in support of the arts in Saint-Jean-Cap-Ferrat. “I do what I do out of love,” she adds. “A gallery, like an artwork, is born of passion and dedication.”

The gallery will stage five to six exhibitions per year with, she says, “no specific geographic focus”. The gallery’s inaugural exhibition is ‘Human Being, Being Human’, by Los Angeles-based Iranian-American artist Farzad Kohan. The works on show, with their vibrant palette and meticulously drawn abstract lines, explore a segment of human experience, one marked by positive affirmations. “Farzad’s work was so important for us to start with because of the universal themes he addresses,” states Maria. “His paintings go beyond national and cultural boundaries. He speaks about love, kindness and humanity – themes that touch everyone from all walks of life.”

One of the paintings by Farzad Kohan’s in the exhibition ‘Human Being, Being Human’

The works exhibited in ‘Human Being, Being Human’ are being seen for the first time at the gallery. In one painting, replete with numerous thin lines, Kohan has written in his signature style the phrase “I have the power”. While at first this might appear boastful, when the viewer looks at the title of the work, To Change, they might think otherwise. “The way one perceives Farzad’s paintings is left up to the viewer’s own perspective,” Maria explains. In another painting. the word “everyday” is repeated, prompting the beholder to focus on the meaning of each instance. Then, as in the former work, one can see the title of the painting: Thankful. Indeed, gratitude for the everyday and for everything in life is a vital component to living a more compassionate existence. “I am a big fan of positive thinking and energy and I think it’s so wonderful to have a work in your home that offers positivity through beauty,” notes Maria.

Kohan’s work places an emphasis on form and material allowing for a reflection on the accumulation of various parts that make up a whole. For Kohan, art creation is akin to the diasporic experience, with which the artist, born in Tehran and now living in LA, is familiar. All stages, materials and processes, like all chapters in life, are part of a larger work and greater vision for the artist. In addition to his paintings, Kohan also makes installations and works on paper, particularly ink drawings.

Read more: Meet Russian style and fitness guru Polina Kitsenko

“He has developed signature techniques which he applies so skilfully to his multi-layered paintings,” says Maria. “I really connected to his ‘Human Being, Being Human’ series, where each painting is poetic, sentimental and beautiful not only visually but above all in its message. To me these works are brilliant because they incorporate various affirmations in the shape of an artwork.”.” Another facet of Galerie Maria Behnam-Bakhtiar’s activity is publishing. “Being a true bibliophile, one of the most exciting aspects of launching the gallery is the fact that we will run our own publishing house to produce books and catalogues to accompany our exhibitions.” This, in turn, Maria hopes, will open the door for dialogues between the gallery, its artists, curators, writers and of course, readers and visitors.

The goal of the gallery, as Maria states, is to give back to the larger community. “I want the gallery to serve as a platform that inspires change and highlights the importance of social responsibility,” says Maria. “For every exhibition, we donate a portion of the proceeds to a selected organisation that makes this world a better place.”

While the gallery is in essence commercial, its aims are higher. “One of the main reasons I love art is for its educational side. I appreciate surprising angles, different views and the diversity that art offers in its subjects and many explorations,” she adds. Galerie Maria Behnam-Bakhtiar, like the artworks it chooses to exhibit, offers an artistic and peaceful space in the heart of busy Monaco – a brief escape through art from the chaos of modern life.

‘Human Being, Being Human’ by Farzad Kohan runs until 4 March 2020. For more information visit: mariabehnambakhtiar.com

This article was originally published in the Spring 2020 Issue.

Dinner hosted by the owners of Château Mouton Rothschild at the Palace of Versailles. Image by Leif Carlsson

The Palace of Versailles hosted one of its most opulent evenings since the times of Louis XVI, as the owners of Château Mouton Rothschild invited guests, including royalty, winners of some very special auction wines and LUX, to an evening of music and cuisine catered personally by Alain Ducasse. All in aid of the Palace’s restoration fund

Guests at the Versailles Celebration Gala Dinner, including (see below image) Catherine Pégard, Prince Albert II Monaco, Julien de Beaumarchais de Rothschild, Camille Sereys de Rothschild, and Philippe Sereys de Rothschild, enjoyed a menu created with the personal oversight of Alain Ducasse, accompanied by legendary vintages of Mouton Rothschild, including the celebrated 1982 and near-mythical 1945, direct from the estate’s cellars.

For more information visit: chateau-mouton-rothschild.com/ chateauversailles.fr/

This article was originally published in the Spring 2020 Issue.

The K11 MUSEA features a roof garden where clients can grow their own herbs and vegetables

Adrian Cheng has high hopes for the new K11 MUSEA in Hong Kong: to change the way retail, art and culture collide, says Darius Sanai

Entrepreneur Adrian Cheng

When billionaire Hong Kong entrepreneur Adrian Cheng opened his K11 MUSEA development on Hong Kong’s Victoria Dockside late last year, he heralded it as “The Silicon Valley of culture”. It was a concept that some found hard to get their heads around, but a visit to the development is enlightening and points to ways K11’s innovations could have influence across the world in future.

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At the heart of K11 MUSEA is a funkily designed luxury and fashion retail mall, housing the usual roster of names found elsewhere in China, from Alexander McQueen to Supreme. It’s the architecture and design, headed by New York-based James Corner, and the depth of concept in the detail, that is so innovative. K11’s roof is a kind of kitchen garden-cum-safari park, with spaces where clients can grow their own herbs and vegetables, a natural butterfly park (open for visits by any passing butterfly), a giant aquarium mimicking Victoria Harbour directly below, and rangers working to show local school groups the rooftop flora and fauna Inside, alongside the living walls and slides connecting different floors, is a constantly rotating roster of curated public art, chosen by Cheng (a significant collector) and his team. An e-sports zone allows you to indulge in the sports of your choice, there are public art and performance spaces, and nattily attired concierges sit at desks made of recovered logs.

The interiors of the luxury and fashion retail mall

Cheng’s aim in the development, which sits on prime waterfront land in Kowloon directly facing Central Hong Kong across the water of Victoria Harbour, is to bring retail, culture and technology together. Cheng is himself a complex and multifaceted entrepreneur: third generation heir to a multi-billion-dollar property and services empire, he is reinventing the family company, which also includes
brands like Rosewood Hotels and Resorts, for the future. He has as many friends in art and fashion as he does in the traditional family industry, and you feel Cheng is never happier than when reinventing something – and yet he has also invested time and money into a foundation to restore traditional Chinese crafts, and is something of a craftsman himself – it is his own hand that forms the calligraphic decorations around K11 MUSEA.

Read more: Plaza Premium Group’s Founder Song Hoi-see on airport luxury

The development has innovative platforms being planned using AI and facial recognition, as well as tie-ins with AI retail companies Cheng’s group has invested in, across the water in Shenzhen’s technology zone and across the globe: these are the spaces developers and retailers around the world will be watching.

The Kube kiosk designed by Rem Koolhaas’ studio OMA

As Cheng tells LUX: “When you purchase or sign up for something at K11 MUSEA, our loyalty programme allows us to understand your preference, basically what excites you the most. With enough samples, we can sufficiently draw correlations that will shape how we curate our brick-and-mortar spaces in the future. This is the advantage of running vast spaces like K11 MUSEA because it offers flexibility and a lot of possible curations. It’s about growing with our customers, predicting their needs and also working with brands and partners to create an inspiring customer journey. In fact, one of the companies I invested in, Moda Operandi, which we brought into K11 MUSEA, has a similar model. Online preferences will shape the store display, styling services and the various events that they host. Both K11 and Moda believe in creating a journey of wonder, for customers to learn and discover.”

There is also, importantly for Hong Kong’s current climate and from a scion of one of its most important families, a significant public/ community aspect to K11 MUSEA and the surrounding Victoria Dockside area which Cheng and his family company, New World Developments, has revitalised.

K11 MUSEA may be ground-breaking, but it’s unlikely to be the last creation of its kind from the peripatetic multi-business, multicultural Hong Kong dynamo.

‘Musea: A Book of Modern Muses’, published by Condé Nast, is available at boutiquemags.com

For more information visit: K11musea.com

This article was originally published in the Spring 2020 Issue.

Polina Kitsenko promotes fitness in the Running Hearts marathon, which she cofounded with Natalia Vodianova

Gauhar Kapparova

Russian style and fitness guru Polina Kitsenko wants it all. Co-founder of the biggest charity marathon in her home country and of a new sports club, she is obsessed with making health and fitness the heart of the luxury lifestyle. She takes time out to speak to LUX Editor-at-Large Gauhar Kapparova

LUX: Which aspect of your life inspires your half-million Instagram followers the most: the fitness inspiration, your style choices, your charity work, travel?
Polina Kitsenko: Instagram has changed so much in the past few years, especially its purpose and influence. It used to be enough just to upload a picture of yourself in a nice outfit, or to put up a pink sunset and get your share of likes. Today Instagram has turned into a powerful way to educate and communicate with people. People want content, something that inspires them, teaches them. But the most important thing isn’t the actual image – it’s what can be found underneath. Engagement comes more from the comments, where an article, post, or call to action is arguably more important than the visual content. Captions used to be short, but now you get whole essays that can barely even fit on one post. As a rule, the longer the text and the more current the issue, then the more the audience will engage.

Follow LUX on Instagram: luxthemagazine

LUX: How do you feel about the term ‘influencer’? Does it describe what you do?
Polina Kitsenko: I’m against any type of branding, like calling someone a blogger, influencer or philanthropist. Everybody has a multidimensional personality and can’t be put in a box like that. Anyone with a social media account is an influencer, whether they have 100 followers or 100 million. They are still influencers for their followers. Instagram now is a vital means of communication and information. We once got the news in newspapers or on TV, but nowadays news is when someone we follow goes somewhere, does or says something, or writes something interesting. Everyone is an influencer – we just have differently sized audiences.

LUX: What advice do you give your clients about building a social media presence?
Polina Kitsenko: I can only give one piece of advice – content. It’s the key word. Instagram is a form of mass media from which we can learn a great deal. If the content that you’re creating is unique, then you have a competitive advantage over others in the same field. If it’s properly curated content, it will help you grow and gain interest.

LUX: You have many commitments, with motherhood, charity work, fitness, travel, your communications agency and #SlimFitClub sports studio, and motivational speaking. How do you balance all of these?
Polina Kitsenko: Obviously I can’t balance all of my interests. During the week, all my focus is on my work putting my services out to the public and promoting my projects and myself. My family really suffers during the week, but I try to make up for it at the weekends. It’s practically impossible for 21st-century working mums to find a balance. But I’m not sure that spending more time with your children improves your life or theirs. It’s important to do what makes you happy, because if you are happy and living your best life, then you can only make your family feel better. Trying to find a balance is like trying to walk to the horizon – you’ll never reach it.

Polina with Natalia Vodianova

LUX: How did you attract support from Olympic champions and top actors and musicians for Running Hearts, the marathon charity you created with Natalia Vodianova?
Polina Kitsenko: That was the easy bit. First of all, most of these people are my close friends and secondly, as they’re already famous, they’re well used to helping public projects. And since we felt that we’d come up with a really good project, asking them to support something really beautiful and meaningful wasn’t hard at all.

LUX: What do fitness, running and exercise bring to your life?
Polina Kitsenko: Mainly the pleasure that it brings and how it widens my social circle. Sport in the fresh air allows the body to develop a more effective immune system and to unload the nervous system. Exercising in all weathers makes you tougher and less susceptible to infection. Training indoors can improve your fitness and muscles, but will hardly impact your health. You need to experience contrasting temperatures.

Read more: LUX interviews Instagram legend Gstaad Guy’s two alter egos

LUX: What advice would you give someone about developing a healthy lifestyle?
Polina Kitsenko: They say that 21 days are enough to change and form new habits, and this is what I believe. So, I think that it is necessary to go on a kind of journey similar to what we’ve set up at #SlimFitClub, such as #SlimCamp, where you can spend eight unforgettable days and you
won’t go hungry in the slightest. The first step is to establish healthy and tasty eating habits, but it’s not a diet. The second step is getting into the habit of exercising in the right way. And if you spend the first eight days doing this, it’s easier to continue once you’ve left. However, if you’re the only one in your social group who maintains healthy habits, it’s going to be extremely hard to change your lifestyle. It makes it easier if you find like-minded people like at a studio or a club, or a trainer with whom you enjoy spending time.

Polina trekking in the mountains

LUX: Your Instagram feed shows that you have an eye for fashion. Describe your style.
Polina Kitsenko: I have an eclectic taste. When looking for something to wear, I always think about
whether it’s appropriate for the weather, the surroundings and the occasion. It also has to be something I look good in. I love mixing up different styles. Some things I really love and my wardrobe is built around them. I like school dresses with little flowers and collars, biker boots, straw hats, denim, striped shirts, pumps, and I like trouser suits – they can be worn with plimsolls or dress shoes, or crop tops, so they’re not just for meetings or conferences.

LUX: Do you have any go-to designers?
Polina Kitsenko: I like to mix Dior with H&M or fast fashion, but I depend on brands less nowadays. What matters to me is that something suits me and that I like it. It shouldn’t be expensive or in my wardrobe already. Almost everything is in there.

Read more: Plaza Premium Group’s Founder Song Hoi-see on airport luxury

LUX: What changes over the years have you seen in the way modern women dress?
Polina Kitsenko: Modern women are more comfortable in the way they dress. People don’t dress up as much. There have been various economic crises, and over-consumption in society, and this is has led to the trend for eco-friendly fashion and ethical consumption. In Silicon Valley, the new IT-magnates are rebranding fashion. Steve Jobs started this trend of a limited wardrobe with his seven identical turtlenecks and seven identical pairs of trousers. Technically his clothes changed every day, but in essence, they stayed the same. Many people simply do not want to spend time thinking about what they’re going to wear. They find their own style, choose some key items, and just replicate them.

Polina at #SlimFitClub, her new gym in Moscow

LUX: Does being Russian inform your look?
Polina Kitsenko: I think that the world is so cosmopolitan today that no-one dresses in a way that reveals what country they’re from. We are all citizens of the world and my Russian heritage manifests
itself as more of an attitude. We used to really dress up because for decades we were deprived of everything. Thankfully today things have changed and we’ve levelled out.

LUX: What are made you the most proud of?
Polina Kitsenko: There have been many milestones in my life but the most significant ones recently have been the creation of our charity marathon and seeing it grow from a small race into an event with
thousands of people and raising a huge amount of money. It has given me great satisfaction to establish other socially significant projects that have been built on the knowledge that I have gained on this one. And there is my new project, #SlimFitClub, a studio of personal trainers and unique sporting adventures.

LUX: Describe your perfect day.
Polina Kitsenko: My perfect day happens very rarely. It’s a day when I achieve a balance and manage to do some exercise, work productively and spend time with my children, then go home, drink some champagne in the candlelight and go to bed at a reasonable time.

Follow Polina on Instagram: @polinakitsenko

This article was originally published in the Spring 2020 Issue.

Commissions by Audemars Piguet include Ryoji Ikeda’s Data-Verse (2019)

Olivia Giuntini is brand director at family-owned Swiss watch manufacturer Audemars Piguet, known for its thoughtful artistic collaborations. LUX travels to meet her at their HQ high in the Jura mountains to talk about art, fish and why women don’t just want diamonds

Olivia Giuntini

LUX: So many brands are partnering with artists now. What makes you different?
Olivia Giuntini: We always want to push boundaries and pursue our own path with a free spirit. When we meet artists, we definitely see who has this spirit and who has not. For example, Ryoji Ikeda was not part of the plan historically, but we met him a few years ago. Some discussions happened and we finally met again two years ago and that’s the moment when he proposed his three-part audio-visual installation Data-Verse [the first part of which was shown at the Venice Biennale in 2019], and, we said, “Yes this is the right moment to do it”. But Ryoji is an artist unlike any other. He is a musician and composer, and he is also somebody who uses open data that is accessible to anybody. This accords with what struck me when I first met him – his work is dedicated to making sure that people don’t use their brains first so much as their emotions. He is a kind of free spirit, which is something that definitely links us. It’s about sharing common values. Jana Winderen is another example. She came here and made music from the sounds of our village of Le Brassus. She always wants to raise the awareness of sustainability, so she went onto the lake here to record those fish that nobody can hear and composed music from that.

Follow LUX on Instagram: luxthemagazine

LUX: Did you have any idea what the artist was going to do when you first spoke?
Olivia Giuntini: Composing music from the sounds of Le Brassus certainly wasn’t the brief. Not at all. We met her and she came back and said what she wanted to do. So we found a fisherman who was
prepared to spend hours on the lake with her so she could make the recordings.

LUX: Audemars is a fascinating family-owned company. Your chairwoman Jasmine Audemars, for example, was a campaigning journalist and edited the Journal de Genève.
Olivia Giuntini: We have really interesting discussions on the board. Of course, we still have to keep on building a future for Audemars Piguet that stays true to the founder’s vision. What Jasmine said to François-Henry [Bennahmias, the company’s CEO] when he was appointed seven years ago was, “I would like more people to know more about who we are. I would like people to respect us as we are.” And that’s what we need to do with this brand beyond the selling of watches and the crafting of amazing gardes-temps.

LUX: And are you looking to strengthen your relations with your existing collectors?
Olivia Giuntini: It’s funny, because if you talked to Michael Friedman, who is our head of complication, he will tell you there are no collectors in the world. But I agree with you – we do have collectors and we want to strengthen the relationship with them. We want to open other minds, too, such as women’s – I’m sure we’re not on their radar.

Dan Holdsworth’s Continuous Topography (2016) was also commissioned by Audemars Piguet

Read more: Tailor to A-listers Nigel Curtiss on designing identity

LUX: Why is that?
Olivia Giuntini: Because everything has been done instinctively within AP and, apart from Jasmine,
this has been driven by men. The fact that I’m here today and that we want to recruit more women into top management is because we believe that we need to have a different angle. We sell 30 per cent of our collection to women. But it’s not just a question of figures; it’s about being more visible to women who don’t know us because we’ve been a kind of masculine brand.

The new Frosted Gold Philosophique watch from the Millenary collection

LUX: Have watches always been considered male and a bit geeky?
Olivia Giuntini: Watches designed for women have been more like jewellery. And I’m constantly saying to men: don’t think that women are always looking only for diamonds. It’s not true. And I think that Audemars Piguet has a legitimacy there, in a field where we can offer female clients different kinds of finishes that are attractive and sophisticated. I’m convinced that many women are really interested in movements, but, honestly, it’s been a world driven by men and their preconceptions of women. It’s beginning to change, and we have a role there.

LUX: Is the aesthetic of the watch more important to women?
Olivia Giuntini: Of course, in a way. But I think that men are convinced that, for women, a diamond is more important than a movement. And I’m sure they’re wrong.

Find out more: audemarspiguet.com

This article was originally published in the Spring 2020 Issue.

Nigel Curtiss’s brand is expanding into suits for women (modelled here by the designer’s daughter Aiden), luxury leather goods and less formal wear for men

Gauhar Kapparova

Nigel Curtiss makes suits for A-listers, with cuts and fabrics that fuse the wearer’s own personal style with a timeless elegance. LUX’s Editor-at-Large, Gauhar Kapparova hears how he moved from being a model into design, about his time in Japan, and what makes the perfect Curtiss capsule wardrobe

Nigel Curtiss

LUX: Why have you chosen to move entirely into custom design now?
Nigel Curtiss: I moved into custom design for many reasons. Firstly, for a pragmatic one, being a small luxury-level designer selling to retail was not fun anymore. Many stores, especially independent ones, were struggling and the problems were passed down the line. Secondly, I was becoming weary of the system, the cost of a show, the samples, a showroom, fighting for space on a shop floor, and most importantly my collection not being bought and displayed as I imagined it. I felt increasingly detached from the end user. In a way, I felt comfortable going in the opposite direction of fast fashion. Slowing it down, making it more personal.

Follow LUX on Instagram: luxthemagazine

LUX: You’ve said that you don’t design just clothes but an identity. Do you mean the client’s identity?
Nigel Curtiss: I feel that in modern-day fashion you end up wearing the personality of the designer. In many cases you are shouting that from the rooftops by wearing their logo. It is not so much about the personality of the wearer but being part of a tribe. My clients generally prefer to show their own personality. I work closely with them to understand what makes them tick. The clothes need to complement the person, not take over. There is an underlying theme in what I do – amazing fabrics, lightweight construction, comfort and perfect fit. The client gives me the clues to do the rest.

LUX: Do you notice a style divide between your clients in the US and the UK? Does your design approach change accordingly?
Nigel Curtiss: No, I don’t. Maybe because the clients who want to work with me have the same desires and all demand the best. The only location-specific changes are due to climate. Clients in Miami can’t wear what I sell in NYC in the winter.

LUX: Clean, uncomplicated lines are a signature part of the Nigel Curtiss look. Do your clients inspire you to add design touches that tap into their personal tastes or lifestyle?
Nigel Curtiss: Absolutely, that happens all the time. Quite often, when I understand that they have a more expressive personality, I will suggest some details that will make the difference without taking over the garment.

LUX: You began an almost decade-long tenure working at Comme des Garçons after first being cast as a model for them. How did you make this transition?
Nigel Curtiss: I guest lecture at Parsons School of Design and get asked this question a lot! I always say that I think I’ve had a lot of luck in my career, but that I made my own luck. I modelled in the first CDG show in Paris. They didn’t use models, compliments”, or “My wife says I look great/sexy in this”. That’s when we know we’ve cracked it.

LUX: Made-to-measure tailoring that doesn’t date taps into the idea of slow fashion. How sustainable is your business?
Nigel Curtiss: Sustainability is becoming so important. Made to measure is already a far more sustainable fashion option. We have no dead stock, in fact no stock and no landfill. What we do isn’t a passing fad. My clients wear what I make them for years until it’s worn out, and that’s a long time. Also, we try to limit our carbon footprint and are looking at biodegradable packaging, recycled hangers, and so on.

Read more: Fine dining on the ski slopes of Andermatt, Switzerland

LUX: Quality fabric is a cornerstone of your design ethos. Who makes the best fabrics?
Nigel Curtiss: There are so many great sources of fabric. English wools; Italian wools, shirting and silks. I love Japanese fabrics, too. But for me, it has to be amazing quality, beautifully designed and close to my manufacturing base. I’m not going to ship fabric half-way around the world.

LUX: Has a particular fabric ever inspired a design, rather than vice versa?
Nigel Curtiss: For me, the fabric is always the starting point. I don’t design first then look for a fabric.

LUX: If you could ban one item of men’s clothing, what would it be?
Nigel Curtiss: This is one of those questions that always comes back to haunt you. I can’t think of anything I hate except anything that’s boring. Oh, and fast, disposable fashion.

LUX: What five pieces make up the perfect Nigel Curtiss capsule wardrobe?
Nigel Curtiss: Only five? That’s going to be tough. Charcoal-grey suit. Navy sports coat (you can wear it with the charcoal pants). Perfect slim, dark denim jeans (you can wear them with both jackets). The perfect white shirt, and a pale blue one (if that doesn’t count as my fifth item). The Nigel Curtiss navy polo shirt. It’s my classic and all my clients buy it. The collar stands up just perfectly to wear with a jacket or without. I have some high-profile clients who wear them with a suit on a daily basis. That’s six or seven outfits!

Read more: Artist Richard Orlinski on pop culture & creative freedom

LUX: You have a great celebrity following, with Kyle MacLachlan, David Schwimmer, Pierce Brosnan, Jeff Goldblum, and so on. Is it different designing for the red carpet?
Nigel Curtiss: The vast majority of my red-carpet attendees are the powerful men behind the scenes – the studio heads and the top executives. They are happy to be more low profile. I’m always very happy to work with any celebrities and dress them so they stand out in the most positive way. It shouldn’t be about the clothes.

LUX: You also dress a lot of high-profile athletes and sportsmen. Do you take a different approach to designing their clothes?
Nigel Curtiss: We try to use more performance fabrics, with natural-stretch, cool, lightweight fabrics. We might need to work more on the silhouette, but the concept stays the same.

LUX: Who will you be dressing for the 2020 awards season?
Nigel Curtiss: Well, we are already working with a few but I’m not at liberty to say anything yet. Also, you really don’t know until the day.

LUX: What is the first thing you notice about a good suit?
Nigel Curtiss: The balance. The fit can be altered for a client but if the balance is off, then it will never be right. But I can’t think of a design detail that I would look at and say it’s ruined the suit. I’m happy to look at creativity in context.

LUX: Are there rules for dressing well or is this an outdated concept?
Nigel Curtiss: Being British, we were brought up with so many rules. For dressing, for how to eat, the list goes on. Working with Rei encouraged me to re-evaluate those rules. I don’t like them. However, I think that if you are unsure about how to dress, then rules can help you feel better about what you are wearing. Some of my clients need to start in that place and then we edge them towards being confident in what they are wearing. Compliments help a lot!

LUX: What is next on the horizon for the Nigel Curtiss brand?
Nigel Curtiss: A proper, luxury Nigel Curtiss women’s tailoring brand is very close. Watch this space.

View the collections: nigelcurtiss.com

This article was originally published in the Spring 2020 Issue.

Georiga’s capital Tbilisi sits amidst the Caucasus mountains, on the border of Europe and Asia. Image by Denis Arslanbekov

Why should I book now?

Thinking of booking a spring break? There are few places more lovely than the Caucasus mountains, on the border of Europe and Asia. And in the region, Tbilisi, the capital of Georgia, is unmistakably the most beautiful city. In a broad valley surrounded by mountains, at its heart is a medieval old town with a fortress towering above. The country has two millennia of history and feels like it was once the centre of a culture and empire – which it was. Winters are cold, summers are hot, and spring, with the trees and blossoms in full bloom, are perfect.

Follow LUX on Instagram: luxthemagazine

What’s the lowdown?

The Radisson Blu is the best-located hotel in the city, at the top end of the broad Rustaveli Avenue, the magnificent boulevard, lined with palatial buildings, that bisects the town centre like a more elegant Champs-Elysees. Rooms have views across the city to the mountains beyond. It’s a modern, light and airy place with a lot of glass everywhere. Climbing out of our car and being greeted by the doorman was our first taste of hearty, genuine Georgian hospitality – we had two recommendations of things to do before even entering the reception area. The receptionists were equally friendly, and, you felt, from their hearts: this was genuine national pride, not just training.

Filini is the hotel’s chic Italian restaurant (above), and in the warmer months, guests can dine on the rooftop terrace (below)

Getting horizontal

Our “superior” category room was spacious and very light, with full glass walls on two sides, and gorgeous views across to the churches of the old town. Decor is contemporary and minimal: whites, creams and light greens. The minibar was filled with local snacks – creamy Argo beer, and packets of local pistachios. There are two restaurants in the hotel, both of them contemporary-chic, and an excellent selection of neighbourhood restaurants just across the square. Wander down Rustaveli Avenue, where a highly fashionable passeggiata takes places every evening in the warmer months, and you get to the Old Town’s wonders, but as a place to stay, we preferred being slightly out of the tourist main drag at the other end of Rustaveli.

Read more: Galleria Continua’s Lorenzo Fiaschi on opening a space in Rome

The rooms on the higher floors offer the best views over the Old Town

Flipside

The Radisson Blu Tbilisi really didn’t have any drawbacks. Although we would advise anyone visiting to pay more for a room on a higher floor, to maximise those views.

Rates: From GEL 424.80 (approx. £100/€150/ $150)

Book your stay: radissonhotels.com/en-us/hotels/radisson-blu-tbilisi

Darius Sanai