Exterior view of the new Maybourne, Beverly Hills

In the second part of our luxury travel views column from the Spring 2022 issue, LUX’s Editor-in-Chief Darius Sanai checks in at The Maybourne, Beverly Hills

The most curious thing about the Maybourne Beverly Hills is its tranquillity. Here you are at the new US flagship of London’s swankiest hotel group (Claridge’s, The Connaught, The Berkeley), in LA, metres from Rodeo Drive, and yet the overarching feeling is one of peace. How does that happen?

Follow LUX on Instagram: luxthemagazine

The first impression of a curious quietude was from the hotel’s rooftop pool terrace. In cities, these are often rambunctious things, squeezed in, next to a spa and a restaurant, a few sun loungers and a square of blue with a highway of guests and staff running through. Not so here: rows of loungers, immaculate staff waiting to serve, a big, blue pool, and a view across rooftops to the Hollywood Hills. You could come here for a week and not feel agitated by noise. Sure, there’s a terrace restaurant but the vibe is more Ibiza chill than urban thrill.

The Maybourne pool

Our suite was all pastel shades and 20th-century modern furniture, rethought for the 21st century. A kind of Hollywood-meets-resort feel, with some gorgeous photography and art. Maybourne’s owners are significant movers in the art scene, and you can tell: even the lift lobby on our floor featured an Idris Khan edition.

Downstairs, the Terrace restaurant seemed to be a breakfast, lunch and dinner hangout for the Beverly Hills crowd and the Beverly Hills chihuahua (along with a nice variety of other breeds). Opening out onto a public garden, it was also very quiet: no fumes, no traffic noise, no honking horns. All the more interesting because the hotel was originally built in the grand style of iconic US palace hotels (think Boca Raton resort): but here, the style is everywhere, and the noise nowhere.

The hotel’s rooftop pool

The food was also consistently brilliant: sunny and fresh, like pan-roasted dayboat scallops with girolles and sunchokes, and an absolutely vivid, meaty whole grilled branzino with Napa cabbage and basil. The Terrace is a people-watching place, and if you want to watch people more closely, and with a slightly different lens, just move to the Maybourne Bar or the Cigar and Whiskey Bar. What’s the difference between the two? Same as the difference between the Blue Bar at the Berkeley and the Fumoir at Claridge’s (with additional cigars in the case of the Cigar and Whiskey Bar).

Read more: Luxury Travel Views: Mandarin Oriental Ritz, Madrid

It was a bit of a mystery to me how Maybourne expected to create a global brand, given that its London hotels are so distinctive, unified by a crossover in clientele and a certain appeal to the fashion crowd through their louche artiness in their public spaces. Here they are in LA, and they have done just that. Quite an achievement.

Find out more: maybournebeverlyhills.com

This article appears in the Summer 2022 issue of LUX

Mangroves protect coastlines from erosion and flooding, sequester carbon and provide a home to species not found elsewhere

If human beings are going to create a sustainable economic system, we must recognise the true value of living ecosystems and the services that they provide to society, and price this into our financial decisions. In the long term, the benefits will far outweigh the costs, says Markus Müller

Markus Müller

Our enthusiasm for economic development has detached us from nature. With our focus on the production of goods, we have forgotten that there literally is a natural limit to our endeavours. If we value nature purely in terms of the raw materials it provides, we fail to appreciate the many ‘ecosystem services’ that living creatures and plants provide to society, and research suggests the markets would price these at about $140 trillion.

The world is fast-approaching a point where its natural capital is so depleted that it can no longer provide us with these services. As a species, we are acting rather like a company owner who operates their machinery 24/7 without maintenance, then acts surprised that their production line is no longer able to deliver the goods. The difference with nature is that there is no option of buying a new machine.

Humans, economy and society are embedded in the environment. This applies to food, but also to areas such as medicine. We know, for example, that many of the organisms living in the sea have contributed to the development of cancer treatments and other crucial drugs. It is reasonable to suppose that similar discoveries are waiting to be made in the world’s most biodiverse habitats such as rainforests and coral reefs, and if we kill our planet’s biodiversity then we will undoubtedly kill many such opportunities.

Follow LUX on Instagram: luxthemagazine

What does this mean for us in our daily lives, for companies, and also for the economic and financial markets? If we look at the numbers alone the issue of sustainability may appear to already be centre stage. Around the world we see growing regulation, not only in creating transparency but also guiding money flow. Now accounting for more than 36 per cent of funds under management globally, environmental, social and governance (ESG) investments have established themselves as mainstream.

However, while the ESG concept divides up current business activities into three specific categories, making the transition to truly sustainable business practices requires more than just an appreciation of financial risk and return. The ultimate objective must be to promote the health of planet Earth for the benefit of generations to come. As Gro Bruntland, the former Norwegian prime minister, said in 1987: humanity has the ability to make development sustainable to ensure that it meets the needs of the present without compromising the ability of future generations to meet their own needs.

When discussing the economic opportunities around biodiversity, I always provide a caveat. What we are dealing with is a global common good. We can’t deal with it in the same way as a private good, which is a product we can manufacture. In terms of business opportunities, we need to be careful when we speak of a global common good – like biodiversity, clean air or even the ocean – as there is a risk of doing business as usual, and exploiting these fundamentals of our wellbeing.

The good news is that with the right governance, we can move quickly from over- exploitation to repair and rejuvenation. Take mangroves, for example: they are difficult to plant, but can be reinvigorated easily. And when they are healthy they act as an effective natural carbon sink, as well as lifting the ground level by collecting and storing soil. They represent a cost-effective ‘nature-based solution’ to both climate change and rising sea levels – and, therefore, a potential business opportunity.

Simultaneously, broader economics must be considered. ESG-based investments are increasingly being incorporated into governmental social and economic policies, and should boost economic growth by encouraging more responsible management of the world’s natural resources. The concept of natural capital – valuing living things like other assets, in order to conserve them – is gaining ground with economists, and when industrial leaders begin to realise its significance then it will completely change the way they do business.

As the awareness of biodiversity loss grows, it should become an increasingly important part of corporate strategy and political policy, drawing more attention to shortcomings in existing evaluation approaches while also prompting solutions. Biodiversity loss gives rise to risks (physical, transition, and liability) for companies in myriad ways. Any decision, be it in investment or finance, therefore needs to encompass the entire product life-cycle and examine the whole supply chain.

Read More: Gaggenau: The Calming Influence of Biophilic Design

The framework we use to evaluate biodiversity preservation is likely to evolve, which will have direct implications not only for investors but also for policymakers and economists. Also, the question of property rights will need to be considered in the context of local political and cultural priorities – a tension that may be difficult to resolve. Solving the geopolitical dimension is likely to be even more difficult, as this will require the financially strong First World to demonstrate the will to obtain goods from sustainable production. All this will come at a cost, but it’s most definitely a cost worth paying to ‘protect our portfolio’. The concept of natural capital could herald the beginning of a big story – one of an innovative and equitable economic model – that is worthy of the 21st century. To reiterate my opening message: if all things were similar then there would be no development. The outcome, instead, would be destruction. Let’s embrace this challenge and adapt to a new future, embedded in nature.

Markus Müller is Global Head of the Chief Investment Office at Deutsche Bank’s International Private Bank

Find out more: deutschewealth.com/esg

This article appears in the Deutsche Bank Supplement of the Summer 2022 issue of LUX

Rudolf Nureyev and Eva Evdokimova in Sleeping Beauty. Image courtesy of Francette Levieux

On 5th-12th September, the celebration of the life and work of Legendary dancer, Rudolph Nureyev will be presented in London at Theatre Royal Drury Lane. This event, supported by the Rudolf Nureyev Foundation, fuses 22 international dancers, alongside live music from the Royal Ballet Sinfonia conducted by David Briskin from the National Ballet of Canada. LUX speaks to some of the renowned ballet dancers performing in the show, Yasmine Nagdhi, Oleg Ivenko and William Bracewell, as well as the artistic director of the gala, former Royal Ballet Principal, Nehemiah Kish about the importance of this gala and the legacy of Rudolph Nureyev

Emma Hawes, Francesco Gabriele Frola, Nehemiah kish and Elena Glurjidze preparing for the Flower Festival in Genzano. Image courtesy of Andre Uspenski

LUX: How much does it add to the celebration, that the performance is taking place where Nureyev made his London debut?
Nehemiah Kish: I love that everything in the production has a wonderful story attached and a purpose in being as it is. Rudolf Nureyev’s first performance in London was at Theatre Royal Drury Lane by invitation of Dame Margot Fonteyn to perform in her Gala Matinee of Ballet for the Royal Academy of Dance in 1961. Nureyev had defected from the Soviet Union a few months prior and was in Copenhagen training with Vera Volkova and another leading male dancer of his time, Eric Bruhn. As the story goes, Nureyev insisted on partnering Fonteyn in the performance and also insisted that Frederick Ashton choreograph a solo for him. The supreme confidence Nureyev displayed in demanding to dance with Britain’s Prima Ballerina and have a solo choreographed for him by Britain’s leading choreographer is characteristic of the force of nature that took the world by storm.

Vadim Muntagirov, Yasmine Naghdi. Photo by Andrej Uspenski, courtesy of the ROH

Theatre Royal Drury Lane is the oldest theatre site in continuous use in the world and has a great ballet history including performances of the Ballet Russe and of course Nureyev’s meteoric London debut. It has been many years since ballet has been presented at the Lane. The theatre recently underwent an ambitious restoration to the highest standard. 60 years have passed since Nureyev’s first performance in London, and it is with great pleasure that we are bringing ballet back to the Lane with our celebration of Rudolf Nureyev.

Natalia Osipova with artists of the Royal Ballet. Photo by Andrej Uspenski, image courtesy of the ROH

LUX: Five different ballets are represented in this performance, what are the benefits of these collaborations?

Follow LUX on Instagram: luxthemagazine

Nehemiah Kish: We are presenting nine highlights taken from eight ballets, all of which Nureyev performed. Each highlight represents moment from Nureyev’s life and work from his very beginnings in dance to his work as a choreographer and his famed partnership with Dame Margot Fonteyn. We are also presenting classics Nureyev introduced to the West. He was famously eager to absorb new ideas and work with choreographers. We are thrilled to present a very special excerpt from John Neumeier’s Don Juan that hasn’t been seen in London since Nureyev last performed it nearly 50 years ago.

Francesca Hayward and William Bracewell behind the scenes of training for Giselle

LUX: How important is it that ballet reaches out to those who cannot access it conventionally, and how is this performance aiming to do this?
Nehemiah Kish: We are thrilled to partner with Marquee TV as our exclusive streaming partner. Nureyev Legend and Legacy will be available to stream on demand from the 16th September. Marquee TV is the gold standard for arts streaming and is known as the “Netflix for the Arts”. The partnership with Marquee TV makes it possible for us to make the performance available for free to NHS and care homes in the UK. It’s exciting to share our performance widely outside of London from the Midlands to the American Midwest. Having come from a rural part of North America myself with limited access to the arts, I know how inspiring it can be to watch ballet from the comfort of your home.

Vadim Muntagirov. Photo by Andrej Uspenski, courtesy of the ROH

LUX: How has ballet evolved since Nureyev was performing?
Nehemiah Kish: Nureyev popularised ballet with new audiences and accelerated the evolution of ballet. His legendary stage presence, charisma and technical ability combined to set a new standard. His televised appearance introduced this exciting new standard to millions. His work as a producer of full-length ballets is also important with the fabulously lavish set and costume design and his technically demanding choreography. He also set a new standard as Artistic Director during his time directing the Paris Opera Ballet nurturing a generation of international stars including Sylvie Guillem and commissioning ground-breaking works by visionary choreographers including William Forsythe. These are only a few examples of Nureyev’s influence on the evolution of ballet.

Nehemiah Kish, Elena Glurjidze, Marcelino Sambé, Yuhui Choe, Marianna Tsembenhoi and Daichi Ikarashi behind the scenes training for Laurencia. Photo by Andre Uspenski

All the dancers performing in Nureyev Legend and Legacy share this magical combination of presence, charisma, and ability. Many of them were trained by Nureyev’s partners and protégés who occupy leaderships roles in the great theatres and professional academies around the world. Nureyev’s impact on the evolution of ballet will be on full display this September through the performances of the incredible star dancers.

Nehemiah Kish, Zenaida Yanowsky and artist of the Royal Ballet. Photo by Trisram Kenton, image courtesy of the ROH

LUX: How do you think Nureyev’s history influenced his dancing?
Yasmine Nagdhi: The very harsh conditions of his childhood combined with the support of his mother greatly influenced Nureyev, and this set him up to become the glorious dancer he ultimately became.

LUX:What about Nureyev inspires you the most?
Yasmine Nagdhi: His unshakable self-confidence, his great passion for the Art of Ballet, his charisma and colourful personality. I am truly honoured to be closing the Nureyev Gala performances dancing the Pas de Deux from Le Corsaire, with my dancing partner Cesar Corrales, a Pas de Deux made famous by Nureyev and Fonteyn.

Xander Parish. Image courtesy of Carmen Mateu

LUX: Having previously portrayed Nureyev in The White Crow, how excited are you about the opportunity to once again play him?
Oleg Ivenko: I’m so excited to be coming back to London, I have wonderful memories of last time I was there. It was a true privilege to play Rudolf Nureyev on the big screen on The White Crow, and so I was very happy to be asked to participate in the Nureyev Legend and Legacy Gala. I feel a similarity in spirit with Nureyev and am looking forward to paying tribute to his legacy on stage. Nureyev brought a special energy to his dancing and I hope to embody that in my performance.

Read more: 6 Questions: Darcey Bussell, Ballet Dancer

LUX: What have you learned from collaborating with representatives of different ballets?
William Bracewell: For me collaboration is key. Be it the partner you’re dancing with, the designer of the costume or the pianist playing for the rehearsal, those relationships are vital to creating successful performances. I learn something new every time I work with someone and love discovering how people think and understand dance.

Francesca Hayward. Photo by Andrej Uspenski, image courtesy of the ROH

LUX: Why do you think Nureyev has left such a strong legacy in the world of dance?
William Bracewell: Nureyev is indeed quite unique in the legacy he left. It’s hard to pinpoint why but perhaps it’s because he transcended the dance world into modern culture and bridged a gap that not many other people have.

LUX: What is the significance of collaborating with such prestigious dancers from around the globe, some of whom you have never worked with?
William Bracewell: I love the experience of meeting and seeing other dancers from around the world. I’m a very visual learner so seeing someone rehearse or perform is an invaluable tool in my development as an artist. It’s quite the line up of dancers in the gala so I’m excited to learn from them and share the stage.

Tickets to the gala are available to purchase here:  lwtheatres.co.uk/nureyev-legend-and-legacy/