‘James Turrell’ installed at Pace Gallery, 6 Burlington Gardens, London. From left: Sagittarius (2019); Cassiopeia (2019); Pegasus (2019). Photograph by Damian Griffiths

James Turrell’s practice has long centred around the manipulation of light and space. His works are designed to provide atmospheres for contemplative thought. These might be rooms filled with colourful light, an aperture in the ceiling open to the sky, or focused points of perception such as his Constellation works that were on display at Pace Gallery’s Burlington Arcade space before its forced closure and which are now viewable digitally.

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To say Turrell’s work has less impact viewed through a computer screen would be a huge understatement. The power of the seemingly floating orbs of light that feature in this latest exhibition lies in their scale, in the opportunity that they provide to sit amidst crowds of people and loose yourself within expanding colour.

Cassiopeia (2019), James Turrell at Pace Gallery, London. Photograph by Damian Griffiths

The real-life works are created to prompt a transcendental kind of experience in which the viewer is no longer distanced from the light but within it. It’s an effect that Turrell has mastered over the years through a continued exploration of technological possibilities in relation to the sensorial realm; in these latest works, the shapes are created on a frosted glass surface animated by an array of LED lights, which are mounted to a wall and generated by computer programming. The lights subtly change colour, morphing into one another so as to be barely perceptible to the viewer (notably, this is an effect which is completely removed from the digital stills of the artworks).

Read more: Why we love Hublot’s limited edition spring timepieces

That said, there is still value to viewing the work from a digital distance, but it requires more discipline. Our online gaze is programmed to be restless and easily distracted. Typically, we jump from one page, one image to the next, consuming data on a superficial level that at best, provides a sense of light relief and at worst, induces a feeling of anxiety or panic. Turrell’s practice, by contrast, centres around creating a sense of peace and internal reflection. But to allow for these experiences to manifest digitally, it requires a new approach to viewing. We suggest letting each work fill the screen before sitting back, hands away from the keyboard and just spending time looking, letting your eyes soak up what’s in front of them without expectation or “a goal” in mind.

Cassiopeia (2019), James Turrell at Pace Gallery, London. Photograph by Damian Griffiths

The exhibition presented by Pace provides only a very small insight into Turrell’s artistic world, but it’s a good introduction all the same.

“James Turrell” is available to view online until May 23 2020 via pacegallery.com/viewing-rooms/james-turrell.

3 unusual places to find James Turrell’s permanent installations

Amanzoe Hotel & Resort, Greece

The Aman Group’s luxurious hilltop resort in Port Heli, Greece is home to Sky Plain, the American artist’s first permanent installation in the Mediterranean. Like his other skyspaces, the installation features a large opening in the ceiling, providing viewers a frame through which to contemplate the Aegean sky as it subtly evolves throughout the day.

aman.com/resorts/amanzoe

Kielder Forest Park, England

On the English border near Scotland lies the Kielder Forest Park, a sweeping area of wilderness dotted with contemporary art sculptures including Turrell’s Cat Cairn: The Kielder Skyspace. Viewers enter the circular stone structure through a tunnel in the hillside to find a light filled chamber.

visitkielder.com

House of Light, Japan

House of Light is a guesthouse designed by the artist by fusing traditional Japanese architecture with his own artworks to produce a space for relaxation and meditation. Guests of the house can bathe in a tub illuminated at night by fibre optics and by natural light filtered through the forest during the day.

hikarinoyakata.com

Set with 50 diamonds, the new limited editions of Spirit of Big Bang are uplifting evolutions of the Swiss brand’s iconic collection

The colourful collection of new limited edition Hublot timepieces features an uplifting pastel palette, alongside some bolder takes on Spring shades. Chloe Frost-Smith selects her favourites

Big Bang Sang Bleu

Continuing the Swiss brand’s collaboration with Maxime Plescia-Büchi, visionary tattoo artist and founder of Sang Bleu studio, the intricate geometrical centrepiece of the Big Bang Sang Bleu is softened by a dusky pink face and matching strap. The option of a gold bezel adds warmth to the design whilst the stainless steel version provides a more classic look.

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Big Bang Sang Bleu with a King Gold bezel

Spirit of Big Bang

For a brighter pop of pink, the Pink Ceramic Diamonds Spirit of Big Bang is as fresh as it is traditionally feminine. Set with 50 diamonds, the delicate design details of this piece include a satin-finished case, and a white rubber and pale pink alligator strap. Also available in light blue, the colour options for this model are both cheerful and calming.

Spirit of Big Bang with two pastel variations and a king gold bezel

Spirit of Big Bang King Gold Rainbow

A sparkling showcase of the full colour spectrum, this vibrant edition features over 400 multi-coloured baguette-cut gemstones which make up the colours of the rainbow, a symbol of joy and optimism. The entire dial of the 39-mm model is covered with sapphires, rubies, topazes, tsavorites and amethysts to achieve the striking display. To complete this uniquely chromatic piece, the seven recognisable colours are also blended on the strap to bring the design full circle.

Read more: Isolation relaxation with Monterey Bay Aquarium’s live jelly cam

Spirit of Big Bang King Gold Rainbow

For more information visit: hublot.com

Watch this space: our upcoming Summer Issue features interviews with Hublot CEO Ricardo Guadalupe alongside Maxime Plescia-Büchi.

Bentley’s third generation Continental has the lot – power, handling, looks, and even a rotating display next to the dashboard

In the third and final of our supercar reviews, LUX sits at the cockpit of another super fast convertible: the Bentley Continental GTC W12

It used to be said that sitting in a Bentley was like sitting in the drawing room of a Downton Abbey-style British country house. Wood panelling, tastefully muted colours, and probably a butler with a silver tray of slightly stale sherry lurking on the back seat.

That market for Bentleys has largely died out, and, under the aegis of its German owners (the Volkswagen group), the august British company has undergone one of the most successful brand transformations in the history of the luxury industry.

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If you doubt that, just sit in the cockpit of the new Bentley Continental GTC. I did, and found myself clutching a thick, two-tone steering wheel in black and cream. All around me were acres of quilted leather, more trapezoids than I could care to count, on the seats, and inside the doors. Above the leather on the doors, black lacquered piano would give it an oriental feel, above which was beautifully burnished British walnut wood. The fusion of colours and textures extended across the whole interior, and in between me and my passenger was the most lavish centre console I have ever come across, bursting with polished buttons, dials, and traditional looking air vents; all is as beautifully put together as a Swiss watch.

The positioning of this car is perfect: to the new generation of young, swanky drivers, as likely to be wearing a Hublot or Richard Mille as a Patek Philippe the previous generation has taken care of for you, it looks contemporary, super chic, but still has a nod to its heritage.

And to those who have always driven Bentleys – hey, what’s not to like?

We drove the top-of-the-range 12-cylinder convertible version, and the roof zips down in a few seconds leaving you and up to three passengers exposed to the sea breeze in Malibu, Monaco, Mayfair, Macau or wherever. The car sounds wonderful, in a deep, long, slightly rheumy way: it’s somewhere in between being fierce, like a Ferrari, and silent, like a Mercedes.

Click the switch into comfort mode and it lopes along happily, but move the dial into sport mode and the car tightens up and feels like it really wants to go and play. This is a big, heavy, powerful car, not a sports car, but it is immensely fun to drive. It changes direction faithfully – better than its predecessors, which always felt a little bit heavy – communicates well, flies along as it gets going, and is generally a hoot.

Along very tight, twisty country lanes – ironically, down which many traditional Bentley owners will live – you do start to feel its size, and width. But that’s part of the Bentley experience, as you imperiously wave at other vehicles to get out of your road.

Read more: Behind the wheel of the world’s most powerful supercars part two

On more open roads, it feels perfect, wailing its way up through its revs, always smooth, never harsh or unsettled. Its four-wheel drive ensures you always feel safe, and can power out the roundabouts, even wet ones, at comical speeds. And in a straight line, it never slows down. With a top speed of over 200mph, this is the fastest convertible in the world. Just warn your passenger not to get an expensive hair makeover before you try that.

But like any Bentley, its beauty is that it is not just here to be driven hard. You can spend your life pootling around and still enjoy the car’s many assets, most notably its beautifully appointed interior, its general presence and feel. It’s as easy to drive in town as it is down the highway – particularly if you don’t live in a town with very narrow streets. The only minor flaw we could find was that very wide centre console with all its gadgets impinged slightly on knee room for the driver and the passenger. But that just made it feel even more like sitting in the first-class seat of an international airline. Not that most owners would know what that feels like – and the Continental’s interior quality is certainly up to private jet level. We like. A lot.

LUX Rating: 18.5/20

Find out more: bentleymotors.com

This article was originally published in the Spring 2020 Issue.

Sea Nettle jelly fish might appear calm and graceful, but their tentacles are covered in stinging cells used for hunting. Image: screenshot from Monterey Bay Aquarium’s live jelly cam

We’ve found a new form of meditation: watching the graceful drift of Monterey Bay Aquarium’s jelly fish via a live underwater cam

Monterey Bay Aquarium in Monterey, California is a non-profit aquarium famous for its conservation efforts and protection of rare marine animals. Like most places, the aquarium is currently closed to the public, but thankfully, the live cams are still up and running, giving isolated audiences across the globe a real-time view of their underwater environments, resident sharks, penguins, birds and jelly fish.

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Image: screenshot from Monterey Bay Aquarium’s live jelly cam

Our personal favourite is the live stream of the sea nettle jellies, whose bodies expand and drift mesmerisingly through the water to a soundtrack of ambient music. We recommend tuning in daily (via YouTube) as a form of easy relaxation. If you’re looking for a more structured meditation, the aquarium also offers a variety of guided videos featuring the moon jellies, kelp forest and open sea.

Watch this space: our upcoming Summer Issue features an interview with Monterey Bay Aquarium’s Executive Director and conservation legend Julie Packard. 

Find out more: montereybayaquarium.org

Alfa Romeo Giulia Quadrifoglio

In the second of our supercar reviews, we test drive a road-burning Italian sports car suitable for all the family: the Alfa Romeo Giulia Quadrifoglio

One of the great conundrums for any current car enthusiast involves trying to work out why the country that produces the greatest supercars in the world has in general not produced anything nearly as outstanding to drive in the fast saloon car category.

If you’re looking for a racy two-seater, you’ll look first at Ferrari and Lamborghini. But if you want to carve similar performance and passion for four or five people, you would, in general, need to look to Germany’s Porsche, Mercedes-AMG, and BMW.

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Meanwhile, Alfa Romeo were world-beating sports cars before Ferrari was even born. Its more recent history as (largely) a maker of saloon cars has been less exciting.

Alfa’s heritage still resonates strongly: as soon as the new high-performance Giulia Quadrifoglio saloon was announced, I had texts from excited Ferrari owners wondering if they had found their next potential family runaround in this four-seater high-performance car.

We took delivery of our Giulia in Zurich. The Quadrifoglio is the high-performance version of the Alfa saloon, and the first thing to note: it looks mean. Beautiful and flamboyant alloy wheels are wrapped in Corsa racing tyres, aimed for use mainly on the track and in dry weather. The car may be a four-door saloon, but it looks like it means business. It has a wide shouldered stance, and the racy feel continues inside, where the combination of bucket seats, carbon fibre and a focused dashboard say supercar more than family car.

So, the Giulia QF can talk the talk, but that’s the easy part. Can it also walk the walk? We are, after all, in an era where any good family saloon/sedan is comfortable, fast and capable. Standards are high, and if you are pitching yourself as both a practical, comfortable car and a sports car, it has never been harder to be at the top of the pack.

First impressions are very racy. This is a car with steering out of a two-seater track machine, and it is extremely bracing. Every millimetre of movement of your hands translates into an equivalent change of direction from the wheels, something that does not often happen with saloon cars which tend to have a lot of safety margin to avoid inexperienced or inattentive drivers wheeling them off the road in a moment of low concentration.

Read more: Behind the wheel of the world’s most powerful supercars part one

The engine sounds glorious; it is a turbocharged V6 with a feeling of being tuned for both sound and power. In a future era where cars are electric or hydrogen powered, the melody of a Giulia QF will be sorely missed. (And before this prompts anybody to write in about greenhouse gases produced by conventionally engined cars, a proper audit of the carbon footprint of every component of an electric battery car should bring you back down to earth.)

So, sharp steering, fabulous sounding engine, fun interior – and how does it drive? The Giulia zinged down the back roads above Lake Zurich with the kind of gusto and brio missing from many of the highly capable but emotionless fast saloon cars on the road today. This is a car that, like some kind of Alpine hound, wants to sniff out twisty roads with delicious curves and power through them, challenging the driver to get everything perfect, balancing their way through the corners before powering outwards
and upwards.

It’s very fast, too – but that is really a given for this category of car, and in a straight line it is neither perceptibly slower nor faster than any of its rivals. It’s more about the way it goes about doing its business with a sense of joy.

But is there a flipside to that, in terms of comfort and practicality? The short answer is no, not really. That Giulia is a good solid motorway cruiser, perhaps not quite as magisterially comfortable as its German rivals, but certainly not flawed. The boot is big, the interior is spacious, although the ride is a little bit bumpy on the big wheels and racing tyres. If you wanted to sacrifice a bit of its alertness for more smoothness, you could swap to Michelin Pilot Sport 4 S tyres, which in our experience come close to giving the best of both worlds.

But given that this is a car aimed at enthusiasts, the sharpness is really no sacrifice to make. For driving your family and friends around with a big grin on your face there really is no better alternative.

LUX Rating: 18/20

Find out more: alfaromeo.co.uk

This article was originally published in the Spring 2020 Issue.

As Head of Rare and Collectable Whiskies at Justerini & Brooks, Tod Bradbury works with both established connoisseurs and those exploring the category for the first time. Photograph by Gary Morrisroe

Tod Bradbury, Head of Rare and Collectable Whiskies at leading London wine and spirits merchant Justerini & Brooks recommends five prestige whiskies for LUX readers

For first-time drinkers: Johnnie Walker, Blue Label, Ghost & Rare, Glenury Royal Edition

Johnnie Walker is a name many are familiar with, and it’s a great starting point. This bottling is a limited-edition Blue Label featuring liquid from the now closed distillery, Glenury Royal. It’s the third in the ‘Ghost and Rare’ series, crafted using incredibly rare whiskies and won’t ever be repeated. A smooth, honeyed dram that will be sure to please.

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For whisky connoisseurs: Brora 40-Year-Old 200th Anniversary Limited Edition

Brora is one of those heralded ‘ghost’ distilleries. No longer producing whisky their stock is finite, which collectors love. In my mind, this bottling from 1978 is, to put it mildly, a magnificent whisky. Hailing from an era that has come to be known as Brora’s ‘golden age of peat,’ this is a whisky for any serious collector, and one that will never fail to impress.

Best value: Lagavulin, 12-Year-Old, Islay, 2019 Release

If you have had Lagavulin before, you will be sure to remember it. It’s a smoky, peaty, heady whisky. Usually matured for a minimum of 16 years, this bottling is a classic stripped-down ‘acoustic’ Lagavulin. At 12 years old, it is pure in style with a wonderful freshness. This is a Lagavulin purist’s dream; wonderfully simple, and all the better for it, without the usual price tags that Lagavulin can command.

Read more: Behind the wheel of the world’s most powerful supercars part one

To give as a gift: Johnnie Walker, Blue Label, Ghost & Rare, Port Ellen Edition

The second in the series of the ‘Ghost and Rare’ bottlings from Johnnie Walker. This one is very special. Including liquid from Port Ellen, the revered and now silent Islay distillery. It makes a very impressive gift. Port Ellen is some of the most sought-after liquid for my customers and there is a good reason for it. This is a fantastic way to enjoy a little piece of whisky history.

For special occasions: Mortlach, 26-Year-Old, Speyside, 2019 Release

Mortlach is one of those distilleries that everyone should try. Known as ‘the Beast of Dufftown,’ this Speyside dram is magnificent in every way. At 26 years-old it is an epic, perfectly matured Mortlach of exceptional quality from first-fill Pedro Ximenez/Oloroso seasoned casks. Best enjoyed as it is, or with a dash of water. It will certainly go down well at a special occasion.

Led by Tod Bradbury, Justerini & Brooks’ team of whisky experts can help source whiskies from lost or ghost distilleries as well as limited editions, rare cask finishes, and limited or single cask bottling. For more information visit: justerinis.com

Aston Martin DBS Superleggera Volante

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

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

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

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

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

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

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

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

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

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

LUX Rating: 18.5/20

Find out more: astonmartin.com

This article was originally published in the Spring 2020 Issue.

Gaggenau’s new combi-steam ovens 400 and 200 series

Last week, LUX attended the launch of Gaggenau’s new combi-steam ovens, presented alongside underwater artworks by artist Jason deCaires Taylor and food prepared by executive chef Phil Fanning

Steaming food might be the latest trend in healthy eating, but it’s also a way of enhancing the natural flavours of ingredients. With an increased capacity of 50 litres, Gaggenau’s new combi-steam ovens offer chefs – both budding and professional – the opportunity to get creative with their steaming.

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At the brand’s launch event in Fitzrovia, London, executive chef and owner of restaurant Paris House Phil Fanning showed guests the kind of results that a Gaggenau combi-steam oven can achieve with not just vegetables, but also meats, baked goods or pastry.

Chef Phil Fanning preparing dessert using a Gaggenau combi-steam oven

Gaggenau’s ovens work by combining hot air with varying percentages of humidity (ranging from 100 to 0%), whilst an in-built probe monitors the temperature and continually revises the estimated cooking time to ensure best results and the preservation of nutrients.

Read more: Chef Alain Ducasse on the importance of telling your own story

Gaggenau’s new ovens shown alongside artworks by Jason deCaires Taylor

Strikingly sleek and minimalist in design, the ovens were presented alongside a series of intriguing glass-encased underwater sculptures by British artist Jason deCaires Taylor. Made from pH-neutral cement, deCaires Taylor’s sculptures are ordinarily encountered on the seabeds where they transform into coral reefs as they are consumed and naturally transformed by aquatic microorganisms. Viewed in this new setting, the artworks appeared even more otherworldly, whilst also inviting guests to reflect on the poeticism of the steaming process.

For more information visit: gaggenau.com/gb/

Building Bridges (at the Venice Biennale 2019) by Lorenzo Quinn

Italian artist Lorenzo Quinn has been commissioned to create artworks for the likes of the Vatican, the State of Qatar, and the Venice Biennale. Here, the sculptor speaks to Charlie Newman about poetry, the symbolism of hands, and durability.

Lorenzo Quinn

1. Can you talk us through your creative process from the conception of an idea to the finished piece?

Once I feel the inspiration, I begin by drawing a sketch of the idea. This sketch might change many times until I feel it is right. Then I make a model in my studio, this model could also vary from the sketch as I go. Finally, when I am satisfied with the model, we proceed to cast the piece in metal.

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2. How does your approach differ when you’re working on public art compared to smaller sculptures?

The approach is the same, apart from when we are considering a sculpture with large dimensions, we also have to consider the public safety implications, engineering and durability. We might choose different materials or different ways of constructing and engineering the sculpture.

3. What compels you to sculpt the human body, and specifically, hands?

I choose hands because I want to have a dialogue with the public, to have a conversation, and we have to do [this] through a common language. If I did abstract art, it would be a monologue, not a dialogue. The hands allow me to get closer to the public through a language that everybody understands and relates to.

Support by Lorenzo Quinn

4. Do you have a preferred medium to work with?

Metals, especially bronze because of its durability.

Read more: Knight Frank’s 2020 Wealth Report focuses on insights for UHNWIs

5. You often pair poetry with your sculptures. How do you feel this contributes to the work?

I don’t conceive of one without the other. I need poetry to make the artwork or else it would be just a three-dimensional piece. I have always believed, nonetheless, that my sculptures need to go beyond that and into the fourth dimension, which is connecting with people and with the actual artwork. It’s about finding something beyond the physical, and poetry does that very well for me.

The Force of Nature I by Lorenzo Quinn

6. Which artists have been most influential on your practice?

The classic masters such as Michelangelo, Bernini, Rodin as well as Salvador Dali and my own father…

For more information visit: lorenzoquinn.com

Knight Frank launched its 2020 Wealth Report at Chelsea Barracks, a new luxury residential development in Belgravia, London

Last week saw the official launch of the 13th edition of Knight Frank’s Wealth Report at Chelsea Barracks in Belgravia, London with a new focus on on data relating specifically to ultra-high net worth individuals, providing invaluable insight for investors and those seeking to buy new homes. Here’s what you need to know

Wealth is increasing on a global scale

Despite geopolitical uncertainty, the global number of ultra-high net worth individuals (UHNWIs) is still growing and is expected to rise by 27% over the next five years, taking the total to an estimated 649,331.

The US still dominates with the largest UHNWI population (240,575), followed by China (61,600), Germany (23,000), France (18,800), Japan (17,000) and the UK (14,400). India has the fastest growing UHNWI population with an estimated 73% rise over the next five years.

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New York wins for lifestyle

The report assesses 100 cities based on their global appeal as a place to invest, live and spend time. This year, New York came top, pushing London into second place followed by Paris, Hong Kong and Los Angeles.

Wellbeing is a new priority

According to The Wealth Report Attitudes Survey, 80% of UHNWIs are dedicating more time and money into their wellbeing. There is also a growing focus on wellness as a measure of national performance with Oslo in first place followed by Zurich and Helsinki tied in second place.

And so is sustainability

This year’s report discusses the impact of luxury travel on the environment, featuring insights from William Mathieson, Intelligence Director of The Superyacht Group and Thomas Flohr, Founder and Chairman of Vistajet into how their businesses are becoming more sustainable.

Read more: Darius Sanai’s Luxury Travel Views Spring 2020

Residential trends are changing

The report also includes the latest results from the Prime International Residential Index (PIRI), which places Frankfurt at the top of the second homes market, followed by Lisbon, Taipei, Seoul and Houston.

Lord Andrew Hay, the Global Head of Residential at Knight Frank, presenting data at the launch of this year’s Wealth Report

10 neighbourhoods to watch according to Knight Frank’s property experts:

1. Road to Amizmiz, Marrakech, Morocco
2. Fengtai, Beijing, China
3. Sentosa, Singapore
4. Sydney Harbour, Australia
5. St Martin-de-Belleville, The French Alps, France
6. SoPo, Berlin, Germany
7. Mahou-Calderón, Madrid, Spain
8. Maida Vale, London, UK
9. Museum District, Houston, US
10. Imperial Beach, San Diego, US

To view the full wealth report visit: knightfrank.co.uk

Restoring the Garrison Chapel

The Garrison Chapel was constructed in 1859, and functioned as an active church for 150 years before it was deconsecrated. In 2018, after an extensive refurbishment supported by the Chelsea Barracks Chapel Trust, the building was reopened as a community arts and culture space.

Watch the below video to learn more about the project:

Chelsea Barracks – The Garrison Chapel from Chelsea Barracks, London SW1 on Vimeo.

For more information on Chelsea Barracks visit: chelseabarracks.com

Interiors by Jouin Manku at the recently reopened restaurant Alain Ducasse at The Dorchester in London. Image by Pierre Monetta

With 21 Michelin stars to his name, Alain Ducasse is one of the world’s most decorated chefs. Over the course of his career, he has opened over 25 restaurants across the globe, launched a cooking school and an artisan chocolate company. Following the reopening of his flagship restaurant Alain Ducasse at The Dorchester, we speak to the chef about sustainability, collaborating with Jason Atherton and the importance of telling your own story

Alain Ducasse

LUX: Can you tell us a bit about your background and how you started as a chef?
Alain Ducasse: My first memory is the smell and taste of the dishes my grandmother used to cook. We used to live in the countryside, and she was often sending me to the garden to pick vegetables. I loved to look at her cooking our Sunday roast chicken, and transforming the produce of the garden into delicious family dishes. She is my biggest source of inspiration, even today.

LUX: Your company Ducasse Paris comprises numerous establishments, how do you ensure a consistent level of quality across the restaurants?
Alain Ducasse: All of my chefs have been working with me for many years, sometimes for more than 20 years. This is the best way to ensure a consistent level of quality across my restaurants. They are totally instilled with my vision and I know they can perfectly interpret it with their own personality.

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LUX: What’s your process like when you’re creating a new recipe? Where do you typically find your inspiration?
Alain Ducasse: When I create a dish, it is all about the local resources: what can I found locally? Where am I? What are the influences around me? Then, I apply the technics and DNA of French cuisine to create.

LUX: Over the course of your career, how have fine dining expectations changed?
Alain Ducasse: All the guests have nowadays all the information they need through social medias, and internet. You are now able to share all your experiences with millions of other customers, so of course now the expectations are higher and the customers are unfaithful because they have a lot of choice.

Salsify amuse-bouche. This dish is based on the contrast between a noble produce (the truffle), and an humble one (the salsify).

LUX: How much attention do you pay to dining trends?
Alain Ducasse: It’s all about moving with our times. The most important is to tell your own story. Each restaurant must be true to the location where it is situated, in tune with the lifestyle of the guests it is welcoming from all over the world.

Read more: The Thinking Traveller’s Founders Huw & Rossella Beaugié on nurturing quality

LUX: This year saw the reopening of Alain Ducasse at The Dorchester. What’s changed?
Alain Ducasse: I am delighted to partner once again with Jouin Manku to visually bring to life the most recent evolution of Alain Ducasse at The Dorchester. The new concept is a sensorial feast that champions nature’s unrivalled beauty and pays homage to our vibrant Mayfair location.

In the main dining area, Jouin Manku have opened the room, introducing curved wood and leather banquettes which anchor the tables within the space. In contrast to the dark, smoky colours of the furniture, the green and silver tones of the carpet suggest a mist through the park, progressively darkening to the edges.

The new concept of Alain Ducasse at The Dorchester is “a sensorial feast” says the chef

LUX: How did the idea for a dinner in support of Hospitality Action with Jason Atherton come about and what can guests expect from the evening?
Alain Ducasse: I have followed this young chef for a while now. I love his vision and his open mind. To support Hospitality Action with this one-off dinner is a great occasion to work together for a charity we both love and to welcome our guests in the freshly refurbished restaurant.

LUX: What’s your collaborative working process like when you’re working with another chef?
Alain Ducasse: It is going to be a four hands dinner, with our two executive chefs. We will brainstorm all together to create a special experience. The dinner will be composed of a 5-course menu with a wine pairing and it is going to be awesome.

Read more: High altitude luxury at Riffelalp Resort 2222m, Zermatt

LUX: How are you incorporating sustainable practices into your kitchens?
Alain Ducasse: By changing all of our habits. I always say that a habit is a bad habit. More than ever, we have to change the way we work to take care of the planet and the health of human being.

I relaunched my restaurant Alain Ducasse at The Plaza Athénée five years ago with a new concept called naturalness, based on vegetable, cereals with less salt, less fat, less sugar, and less animal protein but better ones from sustainable fish.

It is very important to act and show to the industry that we are able to create differently, even in a three Michelin-starred restaurant.

Cookpot of seasonal vegetables and fruit

LUX: What has been your most memorable dining experience to date and why?
Alain Ducasse: It will be my next discovery for sure, the one I don’t know yet. I am an eager traveller, always looking for new discoveries. The world is full of talents, waiting to be discovered. It is not only about French cuisine and French chefs. You can find talented chefs all over the world, with multiple ways to express themselves.

LUX: What’s next for you?
Alain Ducasse: The next steps are the development of Le Chocolat Alain Ducasse in Asia, and my schools “Ecole Ducasse” too. We are launching an exceptional new campus in Meudon specialising in culinary arts which will welcome students from September 2020, with an English education. This Paris campus will be ultra-contemporary; a customised school with the aim of teaching and promoting world-renowned gastronomic expertise.

Alain Ducasse & Jason Atherton’s charity dinner for Hospital Action will take place on 22 April at Alain Ducasse at The Dorchester. For more information on Hospitality Action visit: hospitalityaction.org.uk

Wiltons is one of London’s oldest restaurants, serving high-end British cuisine

Wiltons first opened its doors in Mayfair 1742, offering a menu focused on fresh British produce. Whilst the restaurant remains true to its origins, Head Chef Daniel Kent is set on progressing tradition with a new focus on sustainability. Here, we speak to the chef about his mission to reduce plastic waste, finding ways to innovate and cooking at home

Daniel Kent

1. Did you always dream of becoming a chef and how did your career evolve?

Growing up I had many dreams of what I thought I wanted to do later in life but none of them involved being a chef! It all occurred almost by accident and serendipity took its course. When I left school, I took a job as a pot washer in a local restaurant to earn some pocket money. It was here that the chef asked me if I was interested in being part of the kitchen crew as he thought I might be good at it.

Curious of what this would involve I took him up on his offer and found that I really enjoyed working with food. My parents encouraged me to go to university and study hospitality, so I applied to Manchester University and completed the degree in Hospitality Management.

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Although I had enjoyed working with food so much university was guiding me to an operational role, however the creative aspect of working with food kept calling me and I continued working in kitchens.
Over the years I’ve had the opportunity and privilege to work with several very talented head chefs, all of which have taught me something new and gave me a different perspective. I have used their wise words and knowledge to develop my own management style which I comfortable and happy with.

Some of my mentors have included Rowley Leigh at Kensington Place, Chris Galvin, Jeremy King and Chris Corbin at The Wolseley. Their collective positive influence has assisted me in developing the skills required to run a kitchen in the way that I’ve always desired.

Over the years I have developed a team around me that allows me to coach and mentor new chefs coming into the industry and pass on all the skills I’ve learnt rising up through the ranks. At Wiltons I am exceptionally fortunate to have the incredible opportunity to use the finest, seasonal produce from all over Britain.

Wiltons is known for its oysters and runs monthly oyster masterclasses, designed to teach diners shucking techniques

2. What defines your cooking style?

My true passion is using the very best British products to create dishes that reflect and do justice to their provenance. I would say that I like to develop dishes with modern European cooking techniques, which I can use to great effect with the dishes on our weekly set menus.

While the majority of Wiltons menu does not change, something our guests appreciate and expect we also like to introduce various specials on a daily basis which keep the brigade on their toes and creative. Wiltons is a great British classic and the food we serve needs to reflect this, but by implementing contemporary twists, keeps it relevant.

The menu at Wiltons focuses on seasonal British produce

3. Which is your favourite dish on the Wilton’s menu and why?

Skrei cod, morels and fish veloute is on the menu at the moment and it’s delicious. This cod comes in season at the end of January and we’ve just introduced a wonderful fish dashi consommé. The main course dish we use a fillet of Skrei cod, finished with a classic bonne femme sauce and serve it alongside baby leeks and morel mushrooms. It’s a classic but we’ve collectively adapted it with ideas and techniques we’ve learnt from our travels and working in other restaurants and the guests are thoroughly enjoying it!

Read more: Comme des Garçons protégé Kei Ninomiya’s cult fashion label Noir

4. How are you tackling sustainability issues in the kitchen?

This is a gradual process. Wiltons was the very first restaurant in the UK to join the ‘Chefs Against Plastic Waste Campaign’. All of our chefs’ jackets are made from recycled plastic bottles that have been pulled from the shores of the British Isles. I requested that suppliers use reusable crates to deliver produce and this has been adhered to and we are very mindful of food waste. Bit by bit, we can all do our part. Sustainable practices are key, and we are addressing these.

Wiltons offers a formal dining experience with stately interiors

5. What are your everyday essential ingredients?

Without a doubt, salt and butter! They can change a sauce, elevate a dish and are so basic, yet very versatile!

6. What’s your go to when you want to cook something quick and easy at home?

Chicken schnitzel and cucumber salad. It’s nutritious, quick and delicious and light too! I also enjoy preparing it.

Find out more: wiltons.co.uk

The grand exterior and park of the Brenners Park-Hotel & Spa in Baden-Baden

Our editor-in-chief reflects on travels to some of the world’s great hotels, old and new, across Europe and Asia

Brenners Park, Baden-Baden

Swing open the balcony door at the Brenners, and you are in a fairytale land of luscious trees and deep lawns, with a stream running along the end of the garden in front of you. Locals and tourists stroll along the path beyond, kids run in the flower-bedecked meadow.

Not that long ago, Baden-Baden in Germany was pretty much the place in the world to come to get away from it all. In the days before jets, the view from the Brenners Park, overlooking the gardens, with the tops of the hills of the Black Forest immediately beyond, and the opera house just down at the end of the park, was as good as it could possibly get.

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It feels pretty good right now. I ease myself into one of the balcony chairs, listening to the birdsong, reflecting that we are in the heart of Europe, a tiny distance from my home, somewhere unencumbered by the over-commercialisation of modern tourist destinations, and without hurricanes, typhoons or sweltering heat.

The hotel is in a little valley which itself is the centre of the spa town of Baden-Baden. Walk out through the grounds, over a little bridge, turn right and you are in a Baroque town centre within around four minutes’ walk. The park itself feels like the hotel’s back garden. Arriving at the grand entrance, you are aware of drawing up at an institution that has attracted the world’s great and good since 1872. Emperors from Germany to Persia stayed here. The reception area has the feel of the ground country house, rather than a city hotel, and a short climb up an oak-panelled staircase (or in a cute vintage lift) took us to a grand corridor with our suite at one end, and the connection to the adjoining villa containing the hotel’s famous wellness and spa area.

True to its history, the Villa Stéphanie is a health, medicine and recuperation centre in its own right. Sure, you can swim lengths in the conservatory pool and chillax on wooden sun loungers inside facing the park, or outside in the park in summer. You can also have a treatment and a tour of the wet facilities in the 5,000sq m spa, with its pool areas overlooking the gardens. You can also get proper medical consultations and physiotherapy along with everything else – the medical centre is housed in yet another building, adjacent to Villa Stéphanie.

The subtly modernised Fritz & Felix restaurant

I settled for an excellent analysis and treatment session of physiotherapy regarding my tennis elbow (conclusion: too much phone use, and too little actual tennis) after which a refreshing 50-length swim gave me an appetite. We wandered down for dinner at Fritz & Felix, an art-deco styled but distinctly contemporary culinary concept, a restaurant/ bar/kitchen. It was a refreshing contrast to our expectations of a historic German hotel. The menu, all in lower case, featured a delicious looking selection of high-quality but simple dishes: sole with capers, parsley, lemon and olive oil; local pike perch with lentils, balsamic, thyme and olives; fillet of beef with chimichurri and broccoli. The rack of lamb with chick peas, raisins and cumin went down particularly well.

The Brenners Park is part of the same group as the Hôtel du Cap-Eden-Roc in the south of France and the Bristol in Paris, and you can tell with every flutter of perfect service. Pure class.

Book your stay: oetkercollection.com

Mandarin Oriental Singapore’s swimming pools with views across Marina Bay

Mandarin Oriental Singapore

It was late when I arrived at the Mandarin Oriental Singapore. The transfer from the airport was quick, only 15 minutes. But the flight had been delayed, we had circled during a storm, and I had missed my dinner arrangement, so was feeling rather irritable.

I explained this all to the pleasant young lady who met me at reception and took me to my room (in-room check-in is such a slam dunk for a luxury hotel that they should all be required to do it to retain their five-star status) and she sympathised and, in that luxury Asian hotel way, immediately came up with a solution. Why didn’t I go to the poolside lounge bar, Bay@5, still open, for a glass of wine and a bite to eat?

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There aren’t many city hotels in the world where the swimming pool bar will be open, let alone tempting, at 11 o’clock at night, but this Mandarin, it turns out, was very much one of them. On exiting onto the pool terrace, I was greeted with a night-time-hued blue pool and surrounding tropical foliage and, across the waters of Marina Bay, an archipelago of black liquid and skyscrapers that is one of the most intimate yet dramatic night-time cityscapes in the world. Being on the fifth floor, we were just raised above the streetscape of the bay area.

The storm had passed over, the sky was starry with a warm breeze. The terrace of the bar area had a few couples and a small group sipping wine, and 80s music playing. I sipped on a beer so cold the condensation poured and reformed and poured again onto my lap, and instantly I felt much improved.

The bar at Mandarin Oriental Singapore

The food was exactly what you might want after a long and jet-lagged journey: I had a vegetarian pizza with San Marzano tomatoes and grilled vegetables, and a hamachi ceviche with coriander. There was a selection of cocktails from Mandarin Oriental bars across the world, some fine Australian wines, and Ruinart Blanc de Blancs champagne, but the draft beer suited me fine that evening – I was the last to leave, and back in my room I was half tempted to leave the curtains open so the harbour lights lulled me to sleep, although in the morning I would have been woken by the tropical sun.

I had a morning in my room before meetings in the afternoon, which was nothing if not invigorating. The decor was contemporary Asian luxury: lots of greys and taupes, some piano blacks, and floor-to-ceiling windows. Fortunately, Mandarin Oriental has not yet fallen for the trend of assuming everyone works lying down propped up on pillows in their beds, and there was a proper office chair and desk, which I shunted around to face the view. On my final morning I had an hour spare, and went back to the pool deck, this time to do some lengths of the huge pool and spend 10 minutes lying under the overhead sun. With a view directly across the harbour and out of the sea, it felt like we were on a tropical island, and in a sense we were. Pretty impressive for a city-centre hotel, and I can’t think of anywhere that beats it for a resort in a city of glamour.

Book your stay: mandarinoriental.com

The Four Seasons Hampshire brings a modern style to its 18th-century English manor house and park

Four Seasons Hampshire

The clouds were dramatic as we headed up the drive towards the brick manor house that is the Four Seasons hotel in Hampshire. The hotel is on a slight hill above open fields of English countryside, and on a sunny day, puffs of white and slabs of grey fought each other for places in the Atlantic-washed sky. Arrival was made even more atmospheric at the sight of three fawn-coloured horses, their riders gently leading them across a lawn to the stable block.

The feeling here is of space and light; you (or your kids) are free to roam down the slope leading around the hotel to the restaurant, café and eventually the shooting field at the back. Inside the building, a covered passageway in the conservatory leads to a spa block with a big indoor pool with a glass roof, and outdoor Jacuzzi and sunbathing area, completely private on an Italianate terrace.

The lounge are of the Wild Carrot restaurant at Four Seasons Hampshire

Our room was a blend of traditional English coloured cushions – pinks, dark pastels, and burnt orange – a combination of leatherwork, ornate wallpapers, with windows looking over the open fields. Less than 40 minutes from Heathrow, you are plunged into a serious English country house experience.

Read more: High altitude luxury at Riffelalp Resort 2222m, Zermatt

We were expecting a slightly formalised English dining experience, but fortunately the management had more sense than that. Wild Carrot, the main restaurant, has been reborn as a kind of grand Parisian bistro. There were leather banquettes, bare wooden floors and no tablecloths, and a menu featuring lots of raw and local ingredients. Typical was the very welcome lightly torched house-cured mackerel with pickled radish and hollandaise, and a main of Somerset salt-marsh lamb rack with roasted cucumber, Greek yoghurt, tomato chutney and mint. All the vegetables are locally grown.

The hotel’s pool is attached to the converted stables

Unlike some traditional English country house hotels, signs proclaim children and dogs are welcome, and there are plenty of activities for both. The riding stables offered us a trek across the fields and around the lakes and hacking around the woodland on horses which had been perfectly matched to our height, weight and experience. There is also a high-wire adventure park, which involves zip wires, ladders and perilous bridges to clamber across, all with highly professional instructors.

There is also tennis, clay pigeon shooting, cycling, croquet and an immensely satisfying spa. The grounds are vast – a walk down to and around the lake and back is enough to work up a full day’s appetite. Altogether, it’s impossible to think of another English country house hotel which offers such a complete range of experiences in such luxury, let alone one so near Heathrow Airport and the capital.

Book your stay: fourseasons.com

The Gstaad Palace was once called, for good reason, the ‘Winter- Palace’

Gstaad Palace

A memory of a place is first recalled by rapid-fire still or moving image (or maybe now a GIF?) in your brain. A few weeks after my visit, my instant memory of the Gstaad Palace was our table at Le Grill restaurant. Wood-panelled walls and ceilings and a thick Alpine carpet, and veneered wooden chairs and occasional tables gave it a mountain chic. Formally dressed waiters bustled around, chatting with guests they have known evidently for years or decades.

They were no less courteous to us, to their credit, although of course we had no common anecdotes to share with them. With Alpine flowers on the thick tablecloths, and cuisine rich and local ingredients, including flambéed dishes prepared at the table by the waiters like a glorious piece of 1970s revival, it was an evening experience unlike almost any other.

Read more: The Thinking Traveller’s Founders Huw & Rossella Beaugié on nurturing quality

There was a fantastic Hungarian traditional string band playing in adjacent bar, alternating with a soulful jazz band. The house Burgundy, poured from magnums, accompanied everything extremely well. You could choose Le Grill to propose to your other half, for a family get-together, or a casual dinner for one – it’s that versatile.

When we drew back the thick red curtains of our suite in the morning, we were greeted by the Alps as drawn by Laurent de Brunhoff, creator of Babar the Elephant. Big, forested round hills dropped into a broad bowl, above which jagged rocky peaks loomed. The Palace is the cornerstone of Gstaad, the reason the village has become one of the epicentres of wealth in Europe. In winter, after dinner at Le Grill or one of the other restaurants, you would roll down to the GreenGo nightclub, with James Bond and Pussy Galore sitting on corner sofas sipping two olive martinis as Julio Iglesias rocks the dance floor.

Today, the hotel’s modern spa adds a warmer kind of seclusion from the outside world

In summer, when we went, the nightclub is a swimming pool, connected to the spa (open year round) and looking out onto a garden with a cute kids’ playground, and lined by the hotel’s famous clay tennis courts. Here, you can play as if you were born with a pro living in your garden house (as many guests likely were) with a 270-degree view of the mountain bowl of the Bernese Oberland. If you need something bigger than the hotel’s internal pool, wander up to the Olympic-sized pool the hotel shares with the village (it has its own sun-lounger area, and this is a very posh village). We loved our simple, abundant mountain-food lunch at the pool bar.

The Palace is the kind of place which makes you feel very welcome, but at which it is always evident that there are layers of society into which money simply won’t buy. In its lavish lounge and bar area, just behind reception, old families from Germany, Switzerland and Italy, whose forebears have been coming here for generations, chat easily about art, girls and boys, and schools. The windows in the corridor leading down to the restaurant contain watches and jewellery, from famous brands, that simply might not be available to you unless you know them personally.

The service, however, is sublime for everyone – there was not a flicker of an eyebrow when we booked a tennis court, arrived on the court, and realised we didn’t have any rackets or balls. They were served up in an instant. I just enjoyed sitting on the terrace at breakfast, picking out a gluten-free croissant, looking out over the view, and catching snippets of cultured conversation in several European languages. Perhaps we will be coming back here for generations also.

Book your stay: palace.ch

This article was originally published in the Spring 2020 Issue.

Various looks from the Noir Kei Ninomiya SS20 show, with headpieces by flower artist Azuma Makoto

The weird and the wonderful come together in the extravagant creations of fashion designer and Comme des Garçons protégé, Kei Ninomiya. Harriet Quick gets to the heart of the extraordinary imagination that produces such challenging yet enthralling designs

Kei Ninomiya

First encounters with designers can leave strong impressions. So, visiting the Comme des Garçons showroom on the Place Vendôme in the heart of Paris and finding Noir’s founder Kei Ninomiya engulfed by one of his voluptuous, frilly topiary tulle creations, laughing and eyes glittering remains a portrait of joy. Wearing his trademark leather jacket, Mohawk and wispy sage-like beard, Ninomiya is a rebel with a cause. “I wanted to create a collection of this time, one driven by pure creation, something new and green,” he said, surrounded by gigantic bouffant gowns and headgear fashioned from live cacti, moss and Boston ferns.

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Two mannequins are dressed in what could be best described as chandelier gowns made out of handmade chain-linked Perspex pieces cut to resemble giant snowflakes and cacti headpieces made by his collaborator, flower artist Azuma Makoto. The two flapper girls seemed to have been jettisoned from 1920s Paris and reborn via Ninomiya’s fertile imagination. On the rails, huge gowns fashioned from myriad hand-linked tulle flowers invite one to plunge an arm into the innards of the bizarre garments. Elsewhere, black leather harnesses encage a rippling tulle dress alongside a cocooning number crafted from dense clusters of wool, Cellophane nylon and tulle in shades of green.

Fashion design is a rare skill that relies on a sense of prescience. We talk about living in harmony with nature but Ninomiya pushes the aspiration du jour to a surreal, immersive extreme in his spring/summer 2020 collection. Noir’s work engulfs, terrifies and delights in equal measure. Imagine a future world where you could grow your own dress and morph into some kind of a supernatural eco-being or pull a cloud from the sky and wear it or emerge from the sea in a flamboyant seaweed number? That the showroom sits slap bang opposite the newly restored manicured splendour of The Ritz adds another layer of weirdness.

Backstage at the Noir Kei Ninomiya SS20 show in Paris

Yet Ninomiya, who receives praise and attention bowing and clasping his hands in humility, is not given to explanation. Like his mentor Rei Kawakubo, for whom he began working in 2008 as a pattern cutter at the age of 24, he studiously avoids meaning. Ninomiya wants Noir to speak for itself through the performance-like Paris collections (spring/summer 2020 is the fourth), in-store presentations and, poignantly, when worn IRL.

The meticulous, ingenious engineering of his garments (stitches are rarely used) and the compulsive viscerality (touch, bounce, rustle, clink, stroke) speak louder than words. His shows frequently leave even seasoned critics discombobulated and enthralled. “I wouldn’t want to explain any message in my collections,” says Ninomiya when pressed on the connection between fashion and the environmental crisis. “I always look to create powerful and beautiful collections. As a result, they may link with the power of nature,” he concludes.

Yet brilliant designers, particularly those backed and incubated by Comme des Garçons (CdG), one of the most influential fashion houses of our time, do not create in isolation. They are plugged into the pulses, anxieties and aspirations of everyday life. Right now, issues to do with nature and ecology are triggering a swell of angst across the globe. In reaction, there’s a return to small-batch production, a renewed appreciation of the handmade and a quest for individualism and diversity. Noir seems to be capturing all those currents. For Ninomiya the process is instinctive. “I was first attracted to fashion and to making as a means of expressing ideas,” says the thirty-five-year-old who grew up in the southern Japanese city, Ōita.

Noir’s SS20 collection on the runway in Paris

Fashion’s relationship to the planet came into sharp relief at the close of 2019. The spring/summer fashion season came slap in the centre of a global climate-crisis awareness campaign, with Greta Thunberg (in flaming pink) thundering at the United Nations, Extinction Rebellion staging protests at the Victoria Beckham spring/summer 2020 show in London, and Oxfam joining forces with stylist Bay Garnett and model Stella Tennant to urge everyone to up-cycle their wardrobes for the month of September. Kering-owned Gucci announced its commitment to going carbon neutral by offsetting its environmental footprint with reforestation. Material scarcity, climate change and the awareness of excess landfill and wardrobes bulging with unworn clothes placed a spotlight on the business and fell heavily on every fashion lover’s conscience.

Read more: The Thinking Traveller’s Founders Huw & Rossella Beaugié on nurturing quality

Some brands charged towards up-cycling initiatives, others re-examined minimalist, timeless aesthetics, and many took nature and naturalism as a guiding aesthetic or motif. Whichever direction was taken, it was evident that the fashion business at large was experiencing some kind of existential crisis. Yet indirectly and subversively, the Noir collection offered solace and optimism in the face of crisis.

Ninomiya and his small team use man-made and natural fabrics, vegan and real leather but the vision is brilliantly of now. “We employ handicraft to achieve what conventional sewing cannot do, like making volumes or using the construction techniques that we use here. Some collections start with exploring the technical aspects, but it’s different every time. This time round, I began with an image,” he says. As regards the engulfing volumes, Ninomiya remarks: “I haven’t really thought about it. I just follow my principle to make something powerful and beautiful, so the pieces often end up being big in size and volume.”

A look from the Noir Kei Ninomiya SS20 show

It seems the more banal and mundane the middle market of fashion becomes, the more outrageous and unpredictable the true creators will be. Ninomiya has one of those rare spatial imaginations, like an architect, that is capable of creating new forms with unconventional methods. Techniques might include chain linking (beloved of sixties entrepreneur, Paco Rabanne), invisible snapper and tab fastenings, grommets and rivets. The construction methods actually create the decorative effects as well as the structure. Peer inside a Noir piece and you will be astonished to see an inner matrix that resembles a molecular science model.

The craft/tech/engineering route gives Noir clothes a sense of substance and newness and plays into Japan’s rich tradition of technical innovation that supercharged the country’s economy in the post-war years and made the nation a subject of fascination and fetishisation in the 1980s. That was when Rei Kawakubo dropped a bombshell on the bourgeois traditions of Paris couture with her thunderbolt 1982 Holes collection of deconstructed, raw-edged gowns worn by androgynous waifs. Here was an unknown Japanese designer suggesting that frayed fabrics and bag-lady layers were the apex of style. Intellectual circles were quick to adopt the controversial look. Nearly two generations of designers have been inspired by the impact of Kawakubo’s radical work. We have come to expect experimentation, innovation and rigorous quality from a country that still values and rewards its true artisans.

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

Ninomiya grew up in the 1990s. After studying French literature, he moved to Europe to attend the prestigious Royal Academy of Fine Arts in Antwerp. During a holiday period, he returned to Japan and applied for a job in the CdG studio. Kawakubo was impressed by the young designer’s meticulous work and hired him. Ninomiya never finished his studies in Antwerp and worked in the studio for the next four years before Kawakubo invited him in 2012 to launch his own line under the company umbrella. International acclaim slowly grew with his move to Paris in 2015 and now invitations to his shows are among the most sought after.

To put Noir in context, it helps to understand the bigger Comme des Garçons International universe that is run by Kawakubo and president and partner, Adrian Joffe. It expands across several CdG labels, including accessories and the extensive perfume range, Ninomiya’s fellow protégé Junya Watanabe, and Noir (since 2012). CdG also operates as an investor, backing labels including Gosha Rubchinskiy and helping with distribution and production. Youths in Balaclava, (designed by a collective of polymath twenty-somethings from Singapore) is the latest launch.

Backstage at the SS20 Noir show

These labels and many more invited brands (including Alaia, Dior, Gucci and Balenciaga) are sold through a growing network of Dover Street Market (DSM) retail emporiums that first sprung up, hence the name, on Dover Street in London’s Mayfair. The string of alternative emporiums now stretches to Los Angeles, Tokyo, Singapore, New York and Beijing. In Paris, a dedicated beauty emporium has recently opened. “Risk”, “instinct”, “experience”, “community” – these are all terms that Joffe uses frequently in the description of DSM stores that were originally inspired by Kensington Market, a cult underground streetwear market in 1970s London. The privately owned company now has a turnover of hundreds of millions of dollars.

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“As all others designers of the company, Ninomiya works freely, without constraints,” says Joffe. “He respects Rei’s work a lot and Rei respects his creations, too. The relationship is all based on mutual values. Rei trusted him from the beginning, as I do. We let him be free and Comme des Garçons is proud of what he achieves”. Joffe adds, “He is offering his vision linked to the world he is living in. I don’t know what he has in mind during his creative process as we never know what each is doing in advance.” The CdG collective is essentially an ecosystem and operates in contrast to the corporate micro-controlled worlds of LVMH or Richemont.

But then Kawakubo set the template early on. “I have always pursued a new way of thinking about design by denying established values, conventions and what is generally accepted as the norm. And the modes of expression that are important to me are fusion, imbalance, unfinished, elimination and absence of intent,” says Kawakubo at the time of The Met monograph show ‘Art of the In-Between’ in 2017. The biker jacket-wearing designer, now 78, named her own label after a Françoise Hardy song lyric. Kawakubo sees CdG as a guild of highly skilled designers, fabric experts and pattern cutters. Andrew Bolton, the Wendy Yu Curator in Charge at The Met’s Costume Institute, calls this play between creativity and commerce an example of what Andy Warhol dubbed “business art”. “Rei Kawakubo works in the fashion system but on her own terms. It is a much more elegant way to disrupt,” says Bolton.

Another look from the SS20 Noir collection by Kei Ninomiya

Yet while the creativity on the catwalk is unsurpassed, what CdG does exceptionally well is ‘declining’ those ideas into wearable clothes. At the core of the Noir collection are cropped leather and faux leather jackets with intense detailing such as weather quilting or chains, and ruffled slip dresses and skirts, and sheer jackets, all with an elegantly rebellious, mischievous edge. The collection sells worldwide in avant-garde retailers such as Leisure Centre in Vancouver as well as Net-a-Porter. “Noir always puts on an incredible spectacle and although trends are always changing and evolving, Noir maintains its values,” says Libby Page, senior fashion market editor at Net-a-Porter. “Ninomiya is good at taking the idea from the runway and translating it into more commercial pieces in tulle and leather. The tulle tees are always a hit.”

Fans of Molly Goddard tulle gowns, Simone Rocha’s punkish romance, Sacai’s hybrid design (the label’s founder Chitose Abe is another former employee of CdG), and Martin Margiela would equally appreciate Noir’s puckish charm. All these designers reject glamorous cookie-cutter ideals of femininity and share a love of the colour black. Ninomiya relishes the many different shades of black, and any colours he uses are complimentary, such as the white and verdant greens for spring. The AW Rose collection featured sheer black layers, dried rose headgear, black-mask eye make-up and ruffled petticoat skirts. The parade of models, looking like they had fallen out of a Goya portrait via a Parisian club, offered up a twisted reverie on romance and love.

Noir’s cult reputation is growing apace. Remo Ruffini, CEO of Moncler, invited Ninomiya to create an innovative capsule of down-filled jackets for the brand’s Genius line alongside established players such as Mary Katrantzou and Valentino. But Ninomiya remains pure play and noirishly enigmatic. “Creation is what matters most and I would like to continue that in a sincere way,” he concludes.

Follow Noir on Instagram: @noirkeininomiya

This article was originally published in the Spring 2020 Issue

Masseria Cardinale is one of The Thinking Traveller’s larger villas in Sicily, located in the countryside with authentic design features

The Thinking Traveller is a villa rental company that offers exclusive access to some of the most desirable properties in the Mediterranean. Guests of The Thinking Traveller also gain access to local insider knowledge through the company’s on-the-ground concierge team who plan bespoke itineraries and experiences. Here, we speak to the founders Huw and Rossella Beaugié about their villa selection process, luxury retreats and their intrinsically sustainable ethos

Rossella & Huw Beaugié

LUX: How was the concept for The Thinking Traveller conceived?
Huw Beaugié: We started the company in 2002. Prior to that [Rossella and I] had been living in Paris, where we met in ‘98. Rossella was a cell biologist doing her PhD in Paris and I was an engineer working in marketing at that time. Rossella is from Sicily, so we had been travelling to Sicily a lot already. We went there in November 2000 and that was the kind of the catalyst. We climbed up a mountain called Stromboli, and doing that made us decide that we would like to move there for a bit, which we ended up doing two years later.

Rossella Beaugié: We started doing walking tours first of all and then very soon my friends started saying ‘oh we’ve got this nice house on the island, would you want to try renting it out?’. So the first brochure we put together had three walking tours with volcanos and hills, and then seven villas, I think. At the time we were doing everything ourselves but it worked.

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Huw Beaugié: There wasn’t anything of great quality in Sicily so we realised that we needed to really help these villa owners to create a property and product that would fit our clients and the people we wanted to be our clients. We started advising [the property owners], helping with design and we even began advancing money to invest in pools or refurbishments. We would make contact with interior designers to help them develop the houses. Really quickly we figured that if we were making all these investments, the only way we could really work with these houses and make it profitable would be to deal with them exclusively. That is one of the things we have stuck with ever since. We started with seven houses and we now have about 220 in various destinations in the Mediterranean, but the really vital and big unique selling point is that they are all exclusive to us and that means we can still keep on investing to make sure the quality and service is right, and to have our people on the ground to support that. We are expanding slowly, being careful to always keep the quality increasing rather than diluting.

Views over the Sicilian countryside from the pool at Masseria Cardinale

Rossella Beaugié: The secret has been that right from the beginning. For the first 10 years we were in Sicily so we were around the whole time and then we started hiring staff who are really knowledgeable people and know everybody locally, meaning they can find the best doctor if needed, the best yoga teacher or if you wanted to organise a dinner we can do that. We don’t have reps who move around, our staff work for us 12 months a year and they have insider knowledge.

LUX: What challenges have you encountered now that your main offices are in the UK and you’re based here?
Rossella Beaugié: We have developed quite slowly. There have been two regions that we were interested in but because we hadn’t found the right people or properties we wanted to offer clients, we decided not to go with them. We are happy with the regions we’re working in because we have amazing teams and the owners of properties share our priorities and ethos. The team here receive so many offers of villas everywhere, we could have 10,000 villas! We get that many offers because they see the website, they like it and we have a good reputation, but we have been careful of where we go and what we take on.

Faro di Brucoli is a refurbished lighthouse in Sicily with views of Mount Etna across the Ionian Sea

LUX: How do you select the villas to represent?
Rossella Beaugié: They tend to come to us. It is usually owners knowing us already, maybe due to our reputation amongst other owners who also have these kinds of top level properties. So what we do first of all is decide whether it’s for us and we can see that now straight away with Google and photos.

Read more: High altitude luxury at Riffelalp Resort 2222m, Zermatt

Huw Beaugié: Probably 70% of them we cut immediately. The next 30% we go further and ask for more information, and then perhaps the final 5% will end up with a visit and a detailed report and out of those, we probably only take on one property.

Here and above: Iola is a contemporary villa located on the Greek island of Corfu with sweeping sea views

LUX: What are the key elements you’re looking for?
Rossella Beaugié: We are now at a stage where we know what our clients want so we have criteria, but at the bottom of it, we really need to truly like the property in terms of style and we have to know that the owner could be a good partner because it’s their house and they continue managing the property so they need to be able to reinvest and sort out problems quickly. In terms of more objective criteria, the location and views are important but it depends on the region. Greece, for example, is really all about location so being on the sea and beaches. Privacy is also important and then there are all the things like ensuite bedrooms, a good kitchen, a nice-sized pool, not being overlooked. Then once we take on the property, we have a list of stuff that they have to have such as good quality linen, appliances etc. We recommend things and then our local managers go and do what we call a quality check.

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

LUX: Is it important to you to have a wide range of different properties in your portfolio?
Rossella Beaugié: Yes, we have clients that have gone from a very charming, chic, three-bedroom house in Puglia and then they book our best property in Sicily, which sleeps 24 with a chef because maybe they are doing a multi generation family holiday, or it’s someone’s wedding anniversary and they want to invite everyone. So yes, we need diversity in terms of size and level of service. Some people could afford to have service everyday but they just want privacy, they want to be able to go around without clothes if they like. Then there are also different styles of property. Some people want minimal or really cutting-edge design, and some other people want to go to a place in Puglia or Sicily with traditional charm.

Huw Beaugié: We also work a lot with people who haven’t even started building. The optimum situation is when someone comes to us and says ‘I’ve bought a piece of land’ or ‘I’m looking to buy a piece of land, and what are your suggestions?’ Or people say ‘I’ve bought this ruin and what should I do with it?’ With those projects, we are involved from the beginning right through to the delivery. We suggest interior designers, architects, landscape designers, everything. Those are the villas that tend to perform the best.

Masseria Cardinale (here and above) offers guests traditional charm combined with luxurious modern amenities

LUX: Can you tell us a bit more about the experiences side of the business? What can you make happen for your clients?
Huw Beaugié: We try to make anything happen that the clients want as long as it’s not against the law!

Rossella Beaugié: The kinds of things that are becoming standard for us is that everyone wants a cook. Especially in Puglia and Sicily, people want to learn to cook and so we organise cooking classes either in the villas or on vineyards. We have three kids who were born in Sicily and grew up there which means we were able to try out things with them and find out what they found boring. From that, we designed some guided experiences with experts who will prepare the tours on two levels so that it works for the parents and it’s entertaining for the kids. Wine tasting is very requested, and water sports are popular, but then we also have occasions like weddings when people want a Steinway piano in the garden or a certain opera singer to perform.

Read more: Inside The Dorchester Collection’s first branded residences

Huw Beaugié: What we are starting to do more of is themed weeks so things like getting a celebrity chef out to a villa for a week and creating a programme for full immersion in the food, which might include cooking classes, demonstrations and tours of markets. This year, we are doing a partnership with Bodyism so that you can take a wellness instructor out with you to the villa.

The Thinking Traveller has paired up with McQueens Flower shop to offer guests flower arranging courses at Palazzo Gorgoni (above), one of their properties in Puglia

LUX: What’s your approach to sustainability?
Huw Beaugié: It’s the same as when we started. The basic model of restoring or building unique properties in rural locations or old towns using local people to build, cook and garden, all of that is just inherently sustainable. Generally, you’re also using local materials and the money is staying local. The things that have been added to that model since 2004 is more use of solar energy. However, sustainable a client is they never want to give up on air conditioning, which is one of the single biggest consumers of energy in a villa so solar energy supplements that. Then the other big thing is water: drinking water and swimming pool water. Swimming pools lose hundreds of litres of water a day through evaporation so we encourage people to cover pools when they’re not using them and at night. Same with air con, setting the temperature between 24 and 27 degrees, for example, rather than at 18 degrees and wrapping yourself up in a duvet, which uses a lot more energy. In terms of drinking water, we are doing a big campaign to try and get people to install water filters in their homes, which is difficult in the Med where bottled water is standard, but it’s changing.

Rossella Beaugié: We have these little leaflets which we leave in the houses called ‘Think Green’ which have sustainability tips for guests. People are more aware of sustainability issues so it is easier now than it was in the past to encourage these ways of behaving.

View The Thinking Traveller’s portfolio of properties: thethinkingtraveller.com

Strawberry Greenhouses by Leyla Emektar, a finalist in EEA’s photography competition

Strawberry Greenhouses (above), is one of the finalists’ entries of the European Environment Agency’s latest photographic competition. Part of a series including the image below, it was photographed in Turkey by Leyla Emektar, an art photographer and visual arts teacher. The next competition’s winners will be announced in summer 2020

An image from the same series by Leyla Emektar

Find out more: eea.europa.eu

These images were originally published in the Spring 2020 Issue.

Monte Rosa, the second highest mountain in the Alps at 4,634m (left), towers over Zermatt’s Gorner Glacier. Lyskamm (right) is another of the 33 peaks higher than 4,000m surrounding Zermatt. Photograph taken from the Gornergrat observatory station by Isabella Sheherazade Sanai

Zermatt, in Switzerland, has mountain views and activities that are the stuff of legend. It also has the highest altitude luxury hotel in Europe. Darius Sanai checks in and is mesmerised

We arrived for our stay in Riffelalp Resort 2222m by taking four trains from Zurich, each one more quaint and tiny than the previous. The first was a double-deck express that arrowed smoothly through luscious lowlands and past lakes; alighting at the bottom of a deep valley at Visp, we changed to a more pared-back, basic train that made its way up a narrow, steeply inclined V-shaped valley, more gorge than valley in places. Shards of rock sat on the valley floor among trees and cows, a fast-flowing river accompanied us upwards. There were glimpses, as we ascended, of glaciers and snowy peaks, even in mid-summer.

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Arriving at the top of the valley in Zermatt, we crossed a tiny station square, gazing up at the citadel of the Matterhorn looming over the village like a rock god. The next train was a cog railway, which headed in a meandering zigzag through the larch forest up the valley sides; we crossed over a high iron bridge above a waterfall, in and out of deep larch groves, the ground disappearing below us.

The Riffelalp Resort 2222m sits high above Zermatt in the valley below, with views of the surrounding peaks, including the Matterhorn

After 15 minutes, and feeling a lightness in the air, we emerged at Riffelalp station, right on the tree line. On the other side of the open-air ticket barrier was a tiny, open, narrow-gauge train, and a smiling drive/porter in full uniform, with a peaked cap. This little train, more toy than real, with no windows and waist-height doors, had room for around 20 people and a little luggage. It ground along a mountain path through the forest, at little more than jogging pace, for five minutes, as we were enmeshed in the aromas of pine cones and herbs, until it reached a clearing. Here, 600m above the valley floor, at a height of 2,222m (thus the name) we were greeted with a cluster of pretty Alpine chalets and a view, across and above the confluence of three glacial valleys, over to the Matterhorn, and several other peaks, lit only by moonlight and starlight, glaciers staring at us from across the dark night-time green haze.

Bedrooms at Riffelalp benefit from sweeping views over the mountain peaks

If the view was mind-bending, stepping inside the hotel was even more so. For this was no high-altitude mountain hut; we were inside a luxury palace hotel, beautifully created with Alpine woods and finishes, with a long and wide corridor leading down from the lobby area, past a jazz bar with a live band, and towards a restaurant, whose large windows perfectly framed the night-time Matterhorn. All the details were done beautifully, from the lighting, to the granite, wood and artisanal tables in the gently curving lobby/corridor area, whose large windows perfectly framed the mountains: at night, you could spot the helmet lights of the climbers on the Matterhorn.

One of the resort’s bedrooms (above), and (here) views of the Matterhorn from the terrace

We stayed in the Matterhorn suite, an L-shaped series of rooms, decorated in blonde woods with contemporary furnishings, each of which had a balcony looking out over the high-altitude drama of a dozen peaks of more than 4,000m. This is the highest luxury hotel in Europe, and from the bedroom balcony, it certainly felt it. The granite and marble master bathroom was a masterpiece of design and sheer size – in contrast to many Alpine mountain hotels’ compact dimensions.

Read more: Back to school with Van Cleef & Arpels

What was particularly compelling about the resort is that it is just that: a place you don’t need to leave. On the roof of one of the buildings is an indoor and outdoor pool and sun terrace – it gets surprisingly warm on a summer afternoon, notwithstanding the altitude. Inside is a spa. There is a bowling alley, table tennis, billiards, trampolines in a play area outside, and perhaps our favourite part was the garden terrace downstairs.

The indoor swimming pool at the hotel’s spa

The buildings are located just where the trees start to peter out, giving way to high-altitude grass and tundra, meaning you can sit at a table outside the hotel, watching hikers and climbers go past during the day while sipping a glass of wine – and you have the mountain to yourself at night. Kicking back with a drink after a long hike, as the sunset turns ever more blue, watching the other tourists disappear down the valley to Zermatt, or the serious climbers striding on and upwards towards their bivouacs, is an infinitely relaxing feeling.

The Alexandre restaurant serves fresh, light Alpine cuisine

There are three restaurants and a bar (the two main restaurants are open in summer). The Alexandre is the one in the main hotel building and any fears that it will be an old-fashioned Swiss grand restaurant serving heavy cream and food are quickly dispelled. The Swiss Alpine salmon fillet with wild spinach and venere rice was light and umami; meanwhile the Simmental beef with mountain vegetables and potato purée really tasted of Alpine meadows.

We had slightly feared that staying at Riffelalp would mean feeling cut off from the village below, a 20-minute train ride down in the valley. In fact, it was quite the opposite: we felt like we were the privileged ones, in a kind of contemporary, tasteful luxury Nirvana high up in the view, and we never felt like going down. Indeed, we never felt like leaving at all.

Book your stay: riffelalp.com

Larch and pine forests coat the steep slopes immediately above Zermatt. Image by Isabella Sheherazade Sanai

Four unmissable summer activities in Zermatt

Hike the Mark Twain Trail. Named after the American writer, it loops upwards and around the mountain from Riffelalp, revealing more and more vast, glaciated peaks at every turn, past high-altitude lakes and meadows, until you reach Gornergrat, the station and observatory at 3,100m with probably the most spectacular 360-degree view in the Alps. The trail is not particularly steep and can be done in three hours, but it’s not for those who have a fear of heights. There are hundreds of other mountain paths, over mountain top and through forest, valley and meadow.

Take advantage of the mountain gastronomy. Zermatt’s mountain huts may look quaint and weathered, but many of them house restaurants of Michelin-star standard, or rustic cuisine of the highest quality, with fine wines from around the world to match. And you need to walk or trail bike to get to them, making them justified. Some of our current favourites are: the Findlerhof, on a forest trail with a mesmerising view of the Matterhorn, where we had fantastic forest cuisine: a local mushroom salad and herbed chocolate fondant, cooked and served by the delightful owner; Restaurant Zum See, in a tiny
hamlet in a lush glade just above Zermatt, where the platter of local air-dried beef and cheese was sublime and the owners charming; Edelweiss, a characterful hut on a cliff directly above the village, accessed only by a short but very steep walk, which felt cosy and atmospheric; and the Whymper Stübe, in the oldest hotel in the village, where Edward Whymper, the English tragic hero who first climbed the Matterhorn in 1865, stayed, and where the fondues are superb and the atmosphere even better.

A panoramic path down from Zermatt’s Stellisee lake with the peaks of Dent Blanche, Obergabelhorn and Zinalrothorn in the background. Photograph by Isabella Sheherazade Sanai

Visit the Forest Fun Park. A high-wire park in a forest on the edge of the village, run by mountaineers, its trails, of varying difficulties, are ingeniously devised and variously involve zip-wiring over the river, down above rapids, and across a football pitch, and clambering from treetop to treetop, all in safety and with a stunning view of the Matterhorn.

Climb the Matterhorn. If you’re fit and fearless, plan ahead and book your guide and accommodation, Europe’s most famous mountain can be climbed by capable non-experts. But take heed of advice and guidance: after a gradual decline in accidents in recent years, in 2018 there were at least 10 deaths on the mountain. If you’re not quite up to climbing, a spectacular second best is a hike up to the Hornli Hut, known as Base Camp Matterhorn, on the leg of the mountain, which anyone can do if they are fit and don’t suffer from fear of heights. It’s two hours up from the Schwarzsee lift station, and pretty dramatic in itself.

Wildflowers grow in the unique microclimate of Riffelsee, at 2,800m one of the Alps’ highest lakes, protected by ridges from northerly winds. Photograph by Isabella Sheherazade Sanai

Other places to stay

Up in the mountains above the village, there is nowhere that comes close to Riffelalp Resort 2222m. When staying in Zermatt itself, we like to stay in Winkelmatten, a hamlet on its southern edge, at Chalet Banja. Available for private hire, Banja is beautifully built and detailed by a local doctor and his artistic wife, with four floors of exquisite local stone, wood, artefacts and detailing. It sits above a riverbank amid conifer trees, with uninterrupted views up to the Matterhorn; on the lowest floor is Zermatt’s biggest private (indoor) pool, with the same views, and a gym and sauna and steam rooms. The Alpine library in the atmospheric kitchen/living/dining area is engrossing.

This article was originally published in the Spring 2020 Issue.

Residents of Clivedale London’s latest luxury development can enjoy branded services and amenities provided by the Dorchester Collection

Mayfair-based developers Clivedale London recently unveiled the interiors for a townhouse at Mayfair Park Residences, an exclusive residential development managed by the Dorchester Collection. Chloe Frost-Smith takes a look inside

Mayfair Park Residences is a collection of 24 private apartments, all fully-serviced with five-star amenities by the adjoining Dorchester Collection hotel, 45 Park Lane. Ranging from spacious pieds-à-terre to an eight-bedroom penthouse complete with rooftop pool, the generously proportioned apartments are spread over eight floors with sweeping views over Hyde Park.

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Incorporating the character of a Grade II listed townhouse, Lee Polisano of London-based PLP Architecture has created a contemporary yet complementary counterpart to the refurbished historic Georgian façades, one in black-painted brick, the other in Portland stone and white travertine. Fronting two streets and presenting six distinct exteriors, Mayfair Park Residences blends into the surrounding eclectic architectural styles.

The spacious dining room of a townhouse at Mayfair Park Residences, and (above) one of the bedrooms

The classic Georgian period details are continued in the interiors, which draw on historical references combined with bespoke features by Parisian design studio Jouin Manku. With a number of previous Dorchester Collection hotel projects in their portfolio, Jouin Manku has taken a fresh approach to the group’s first residential development, focusing on an organic, natural colour palette and luxurious materials. Soft, muted tones are paired with elegant marble work, floor-to-ceiling windows, and wood-panelled spiral staircases.

Read more: Film director Armando Iannucci on David Copperfield & Fleabag

Interiors by Parisian design studio Jouin Manku blend historical references with contemporary details

Residents will enjoy access to an impressive selection of services available on an à la carte basis, including 24-hour room service, concierge, security, and valet parking. In addition to 45 Park Lane and The Dorchester amenities, residents can also make full use of the heated swimming pool, sauna and steam rooms, and hydrotherapy pool.

Find out more: mayfairparkresidences.com