Giorgio Armani. Courtesy Giorgio Armani

The designs of fashion superstar Giorgio Armani have become synonymous with the relaxed yet restrained and sophisticated style that has, over the nearly half century he has been in the business, transformed Italian tailoring. Harriet Quick talks to the legend about his global empire, which spans womenswear, menswear, interiors, hotels and more

Even with increased life expectancy and delayed retirement age, there is only a tiny percentage of us who, at the age of 85, will wake up every morning motivated by the prospect of a full days’ work. That Giorgio Armani is in charge of a multibillion-euro company, more than 7,000 employees and owns a personal property portfolio of nine houses (plus a 65m superyacht named after his mother’s nickname, Maín), a personal fortune estimated at 6 billion euros and a whip-sharp brain makes him that rarity.

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Who does he see in the mirror each morning? “I see a man who, through sheer hard work, has achieved a lot, turning a vision of style into an all-encompassing business. This assumption might sound like an overstatement, but it is a matter of fact,” says Mr Armani (Mr is his preferred address), dressed in his ‘fashion-worker uniform’ of blue sweater, cotton trousers and white sneakers. “And yet, in spite of all my achievements, I still feel the fire. I am never content – I am always challenging myself. That’s how I keep young and aware, by always raising the bar a little higher,” he says.

In January 2020, Armani will have presented Giorgio Armani menswear during Milan fashion week, the Armani Privé collection during the Paris haute couture collections and overseen looks designed for celebrities attending the Golden Globes, the Oscars and the Baftas. He also picked up the GQ Italia Award in January in swift succession to the Outstanding Achievement Award that was presented to him by Julia Roberts and Cate Blanchett at the British Fashion Awards in December 2019. By way of acceptance, he simply gave a big thank you while Blanchett added, “Mr Armani is a man who prefers to let his clothes do the talking”.

Armani with his mother Maria in 1939 (top), and with his partner Sergio Galeotti. Both images courtesy of Giorgio Armani

The new decade marks forty-five years in the business during which the Armani brand has grown from a seedling collection of subtle, relaxed men’s suiting into a global powerhouse that encompasses 11 collections a year (including Privé and Emporio Armani) fine perfume and cosmetics, underwear, eyewear, denim, interiors, furnishings and hotels. Armani, who is the CEO and creative director, remains the sole shareholder making him, alongside the Wertheimer family that owns Chanel, Sir Paul Smith and Rei Kawakubo of Comme des Garçons, one of the last remaining fashion industry founder/owner titans. Ralph Lauren stepped down from his role as CEO in 2015.

“A vision like this takes a long time to be fully developed. The slow growth made it organic and all encompassing,” says Armani. “I had the first glimpses that style could turn into lifestyle back in the eighties, sensing that my philosophy could be applied to many different fields. Across the nineties, as the business grew, I started adding new elements, be it furniture, restaurants or hotels. My intention today is to offer a complete Armani lifestyle. New things can be added all the time. The vision has not changed over the years, it has grown, evolved and expanded,” he says as if observing the horizon line. But the roots were set firm and fast. In the first year of trading (1976) the turnover was $2 million. With Italian producer GFT and American know-how, Giorgio Armani and his right-hand Sergio Galeotti learnt how to manufacture and distribute at scale. In 1981, Emporio Armani was launched offering denims and sportswear at accessible prices and emblazoned with the graphic triumph that is the EA eagle.

Read more: How Hublot’s collaborations are changing the face of luxury

Armani’s lifestyle vision of pared-down elegance (in shades of aqua and greige) has proven as enduring as the bewitching romance of Pantelleria, the tiny island that lies off the coast of Sicily. The myth of Armani seems to predate the man himself, reaching back through the 20th century into some misty pre-industrial past and lurching forward into a tonally harmonised borderless utopia. In Armani’s universe, shapes, moods and memes may change, but not excessively so and one would be hard pushed to date one collection versus another. In this age of responsible luxury and sustainability, that interchangeability is now again being considered a virtue rather than a freakish anomaly. The brand, which Armani describes as a ‘physiological entity’, speaks of constancy, grace, strength and good health seemingly impervious (or very well sheltered from) the rude chaos of real life, just like the founder himself. The allure of Armani’s serene aesthetic harbour (in jackets and the best-selling Luminous Silk Foundation alike) seems to grow in inverse proportions to the spiking rates of anxiety and turbulence in the world.

Armani at the 2019 British Fashion Awards with, from left, Cate Blanchett, Julia Roberts, Tom Cruise and Roberta Armani. Photo by Stefano Guindani

Yet upheaval, tragedy and human destruction is part and parcel of the Armani story. Young Giorgio (one of three siblings) grew up in poverty-stricken postwar Italy, in the town of Piacenza, near Milan. Food, healthcare, building materials, fuel and clothing were in short supply. Bombing raids were imprinted on his childhood memories as were the visits to the local fascist HQ where his father worked as an office clerk. Armani distanced himself from the ideology and the relationship (his father died when he was 25) decades ago. “We had little, very little, so we treasured what we owned. My mother was wonderful in that sense: we were always impeccable, even if we did not have anything to show off. It was all about being clean, being proper. I’d call it dignity,” he reflects. The autumn/winter 2020 menswear collection, with its distressed-leather donkey jacket, soft shouldered tweed suits and shearling mountain coats and combat boots, had strong echoes of wartime civvy and military garb, albeit in luxury and technical materials.

“As industrialisation grew, we came into contact with new stuff. I remember my first incredibly stiff pair of blue jeans and I immediately felt like James Dean. As the economy boomed we all became eager for more. The social fabric disintegrated a bit and being modern became a must. That’s when I really understood the power of clothing – it’s the first projection of the self into society,” he continues. To note, Giorgio Armani SpA was one of the first brands to enter the Chinese market – he has an innate understanding of aspiration.

Read more: Van Cleef & Arpels CEO Nicolas Bos on the poetry of jewellery

Like Ralph Lauren, Armani received his fashion training on the shop floor at the swish Milanese department store, La Rinascente. “I was dressing windows and working as a buyer. I got to observe people, and that was an invaluable lesson. Milano at that time was a bursting, innovative city and people were constantly on the lookout for something new. I developed a passion for fabrics and shapes. Then I had the privilege of working as an apprentice with Nino Cerruti, where my career truly took off. I quickly started to develop strong, personal ideas. It was Cerruti himself – to whose foresight I owe a great deal – who asked me for new solutions to make the suit less rigid, more comfortable, less industrial and more tailored,” says Armani.

It’s hard to imagine in our century of casual how modern and desirable the deconstructed jacket and roomy fluid trousers on which Armani made his name would have appeared. But his work to soften the silhouette was as impactful as Coco Chanel’s cardigan jacket on women’s fashion. The silhouette was not only ‘comfortable’, it also projected a certain sense of cosmopolitan ease and adaptability, qualities that were in keeping with a flourishing economy (cars, furniture, fashion, fabric, lighting) and the birth of the ‘Made In Italy’ pedigree.

“By deconstructing the jacket, I allowed it to live on the body, using far from traditional fabrics. That principle is the one I used to build my own brand. Suiting at the time was very stiff. Women, in the meantime, were making progress in the work place and needed a new dress code: ‘ladylike’ was not suitable for the board meeting. I made the suit suitable for men on the lookout for something more natural and for career women. I sensed a need and offered a solution. The rest, as they say, is history,” says Armani, who is wont to gently shrug his shoulders.

A look from the Armani AW14 advertising campaign. Image by Solve Sundsbo

“I think Armani’s success is due to his fashion and the images that went with it,” says Gianluca Longo, style editor at British Vogue. “He personally art directed the advertising campaigns and created the Armani style. He hit the American and the Japanese markets in the booming 80s and the Armani suit became a symbol of success at work. For men, it was a relaxed style and for women, a structured jacket that was still elegant and feminine in the cut.”

Armani’s success is rooted in a close group of loyal collaborators that were particularly effective in navigating the closed-shop Italian fashion business. “Sergio Galeotti has been the pivotal figure for me. He was the one who pushed me to go on my own and who was also by my side to manage it all. When he passed away [in 1985] I had to take my destiny into my own hands. Finally, that was his biggest push. I would not be where I am now without Sergio. I owe a lot to many people I have met across the years, especially Leo Dell’Orco, but I am a truly self-made individual,” he says. He also cites his mother Maria as a mentor: “She taught us the importance of taking care of yourself as an ethical choice. The idea of achieving so much with so little left a lasting impression on me.” Even at 85, he exercises for 90 minutes daily.

The Amal restaurant at the Armani Hotel Dubai.

In his professional life, he cites John Fairchild (founder and editor of WWD) and Karl Lagerfeld as mentors. He admits he is not easy to get on with in terms of journalistic portrayal (he is succinct to the point of being terse) but does remember Jay Cocks’s 1982 Time profile. The cover bore the headline “Giorgio’s Gorgeous Style” and featured the leather-jacketed designer in his own incarnation of James Dean. This was also when Armani took on American retail (Barneys was one of the first stores) and then Hollywood. Leonardo DiCaprio (The Wolf of Wall Street), Kevin Costner (The Untouchables) and Richard Gere (American Gigolo) are among the early pin-ups in a line-up of celebrities looked after by a highly active VIP and Entertainment division overseen by his niece, Roberta Armani.

Read more: Discovering Deutsche Bank’s legendary art collection

In the leagues of big business, a beige Armani suit (in fluid crepe wool) became the uniform of choice for a generation of female leaders, president of Bergdorf Goodman, Dawn Mello, and first ladies included. Today’s soft-power designers, including The Row and Gabriela Hearst, share a surprising amount in common with Armani’s aesthetic. Where peer-group brands built billion-dollar businesses on accessories, Armani’s strength has always been clothing. The cohesive brand architecture works from top to bottom with a bespoke velvet tuxedo on Brad Pitt boosting everyday entry-level purchases of underwear and scent. For the best part of the 1980s, Gianni Versace, Giorgio Armani, Gianfranco Ferré and Valentino Garavani ruled the Italian fashion business before Gucci was resurrected and Miuccia Prada launched into ready-to-wear.

Working at Giorgio Armani SpA is not for slouches. Team Armani work with military precision, expertly choreographing Armani’s interactions with press and dignitaries while exuding brand values 24/7. The notion of a team is always emphasised over individual stars and the same is true of the catwalk presentations and campaigns. The models are rarely supermodels or names but appear as a lithe army, with naturalistic make-up, hair and gestures and clothes that blend in with the wearer. “The founding principles of my company are based upon autonomy and independence,” says Armani. “Jobs might be short lived today, but not in my case. My first employee, Irene, still works for the company.” The Armani Group’s reach has been impacted by a flood of street-credible brands, including Balenciaga, Off White, Burberry and Kim Jones at Dior. In 2016, revenues dropped by five per cent (estimated at 2.51 billion euros) and various strands of the business were given a sharp nip and tuck to refocus on core values.

Furniture in the Armani/Casa 2019–20 collection at the Salone del Mobile in Milan. Image by Fabrizio Nannini

As a private company, rumblings and frissons behind the scenes are hard to detect. The Armani world is elegantly orchestrated, from the polished-concrete Armani HQ in Milan designed by Tadao Ando to the flagships, many designed by architect Claudio Silvestrin, and the low-rise converted dammuso on the island of Pantelleria where Armani has a holiday home. “Clothing is about the space between cloth and body, architecture is about the space in which the body moves. I do not see many differences, and I think soulful simplicity always wins,” says Armani. And tactility. “The virtual is cold. We need to touch things, we need to make bonds.”

Read more: Inside Sassan Behnam-Bakhtiar’s Saint-Jean-Cap-Ferrat studio

“Mr Armani is a very loyal person, he relies on his close friends and has an acute sense of humour,” says Longo who last year was invited onto the superyacht, Maín. “That always helps. And he still loves to be involved in everything that he sees around him. From a button on a jacket, to the cutlery on a table.”

The spring/summer 2020 collection of misty fog and aqua cadet suits and cloud-like organza-topped shimmering gowns was dedicated to Earth, echoing this era’s concern over climate change. The company has been a supporter of Acqua for Life for more than ten years alongside other charities supported by the Giorgio Armani Foundation, set up in 2016. As fashion goes through epochal changes in purchasing behaviours and attitudes, the business will be remarkably different in ten years’ time.

Richard Gere in American Gigolo (1980), and Andy Garcia and Kevin Costner in The Untouchables (1987), for both of which Armani designed the costumes

“The outlook for the fashion business and the outlook for fashion are two separate issues,” Armani says. “Fashion, I feel, has a great future, as people are becoming more and more confident in making decisions about what to wear based on what suits them, and are also becoming better educated in matters of style. The fashion business, on the other hand, must adapt to this new situation, and the fact that consumers are able to access new ideas from their digital devices at any hour of the day, anywhere in the world. How to best respond to the new landscape hasn’t changed – make clothing and accessories that help people fulfil their potential and look their best and bring out their characters.” The focus should be on style, not trends, he argues. “And you should have your own vision and viewpoint as a designer. If you do these things, you will be successful. Consumer behaviour may change, but why people buy fashion in the first place will not.”

On the matter of succession plans, Mr Armani remains a closed book. The internal leaders are likely to be in place. “Freedom gives me pleasure. I experience it in my business, as I am still my own boss. I experience it in my boat, suspended between the sky and the sea.” One intuits that this sense of inner peace has been hard won yet the reaching for it is what drives the Giorgio Armani brand.

Discover the collections: armani.com

This article was originally published in the Summer 2020 Issue.

Hublot ambassador Maxime Plescia-Büchi. © Hublot SA

Hublot is celebrated for being the most pioneering and original brand in the world of haute horlogerie. The first watch brand to sponsor international football, the first watch company to make an all-black watch with black dial, numbers and hands, the company famously mixes precious and base metals and materials in its timepieces, and counts sports stars and athletes on its roster of fans. Its partnership with London-based Swiss tattoo haute artiste Maxime Plescia-Büchi takes luxury to a different dimension, as Millie Walton discovers through a conversation with CEO Ricardo Guadalupe

Next year Hublot will celebrate its fortieth anniversary. In the world of Swiss watches, that roughly equates to early adolescence, but, as Hublot’s chief executive Ricardo Guadalupe assures me, “You can be young and have success”. This, in fact, neatly sums up the brand’s aspirational ethos and hugely successful marketing strategy. Through select partnerships with the likes of Usain Bolt, Richard Orlinski, DJ Snake and Maria Höfl-Riesch, the brand has developed its own culture encompassing everything from music, sport, cars and contemporary art to luxury destinations such as Courchevel, Zermatt, Saint-Tropez and Mykonos. The idea is, as Guadalupe puts it, “to create a universe of Hublot”.

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Today, the brand has 4.8 million followers on Instagram, which is not only reflective of their young consumer base – 60 per cent of Hublot’s customers are aged between 20 and 40 years old – but also the changing nature of luxury itself. “The young generation don’t have in mind which are the standard brands of [the luxury] industry. When you’re older, you’re less likely to move to another brand, your choices are already made,” explains Guadalupe. “That’s why we speak to very young consumers, as young as fifteen. We want them to one day dream of getting a Hublot watch.”

The Big Bang Sang Bleu II in titanium pavé

This forward-thinking approach is most clearly demonstrated in Hublot’s choice of collaborations and specifically, the brand’s decision to associate with the art world and notable figures from contemporary urban culture such as renowned tattoo artist and designer Maxime Plescia-Büchi who has now been collaborating with the brand for just over four years. “I think they really took a chance on me at every level,” says Plescia-Büchi, but as a Swiss national, watches were already an integral part of the designer’s identity well before Hublot came along. He recalls flicking through adverts for early luxury sports watches in his collection of vintage National Geographic magazines and even once interviewed Jean-Claude Biver (the former president of LVMH Watches and chairman of Hublot) for an issue of a magazine that he was then running. Nevertheless, receiving an invitation to design the iconic Big Bang must have been exciting.

Plescia-Büchi at work on the Big Bang Sang Bleu

“I prepared some quite radical designs alongside some more conservative options,” says Plescia-Büchi, reflecting on the design process of his first timepiece, the Big Bang Sang Bleu. ‘To [Hublot’s] credit, it was 100 per cent their decision to go with the weirder one.” With a few adjustments – “we had a lot to do in terms of translating how to make [the 2D design] into a watch” – the timepiece launched in 2016 with an initial run of 200 pieces. Crafted largely from glass and titanium, the Big Bang Sang Bleu was a celebration of pure form and geometry, taking influences from architecture, philosophy and Plescia-Büchi’s own tattoo designs. The original idea was to feature the geometric pattern printed onto the watch face with the hands on top, but the designer envisioned more depth and suggested using the shapes as the hands themselves. Given the delicate art of watchmaking, the final version, which features three octagonal discs instead of hands to indicate the hours and minutes, is a huge achievement. “Seeing the watch finished,” Plescia-Büchi admits, “was the closest thing to having a child.”

Read more: Princess Yachts CEO Antony Sheriff on a new generation of yachting

Hublot’s collaborators, unlike with a lot of brands, work with the watchmaker on an ongoing basis, thus becoming an integral part of the brand’s identity. For the Big Bang Sang Bleu II, which was released at the end of 2019, for example, Plescia-Büchi refined the original design to create a more three-dimensional case and inverted the facets to restore Hublot’s iconic porthole shape. “It’s about combining my DNA and Hublot’s DNA to create something new that is also true and faithful to both of the origins,” says Plescia-Büchi. “Something that I find extremely pleasant is that when you’re designing watches you work over many years on slow incremental changes, which is actually quite akin to designing tattoos. You get time to continue improving the design, which is different from designing fashion, for example, because you have a quicker turnover. You can come up with something crazy and the next season, people will have already forgotten.”

The Big Bang Sang Bleu II in gold

The designer was, in fact, approached by another watch brand before Hublot but declined the opportunity: “It wasn’t the level of prestige where I thought I could be”. Though fifteen years ago, Hublot might not have made the cut. Success truly came from the brand when they started “to connect tradition and innovation,” explains Guadalupe, a concept that is at the heart of Hublot’s universe and rooted in a deep understanding of their consumers’ expectations and lifestyles. “The young generation in particular are looking for something iconic with a strong personality and identity,” says Guadalupe. “For men, especially, a watch is the main way to really differentiate yourself, it expresses who you are.” Part of the appeal of buying a Hublot watch is gaining access to the ‘family’ and all the perks that come with it. Football-loving collectors, for example, are invited to all of the games at Chelsea FC with whom Hublot has an ongoing partnership. Indeed, Hublot was the first luxury watch brand to ever support football, again demonstrating a deep understanding of consumer culture as well as a highly innovative marketing strategy. Since 2008, the brand has been the official timekeeper of all of the UEFA men’s European Championships as well as the FIFA World Cup since 2010, and this year, marks the beginning of the brand’s relationship with UEFA’s women’s football.

When it comes to women’s watches, Hublot is still developing – the brand sells only 25 per cent to women – but their approach is unique in the sense that their designs differ very little for the female audience. With the Sang Bleu timepieces, for example, the ladies’ versions are embellished with diamonds, but otherwise remain the same. Look for a women’s collection on the Hublot website and you won’t find it; the watches are listed only by their collection. “It’s no longer men who buy watches for women as gifts. Women decide to buy whatever they want,” says Guadalupe.

Hublot x Women’s Football

Aleksander Ceferin, UEFA President & Ricardo Guadalupe, Hublot’s CEO

Over the past few years, women’s football has increased significantly in popularity with US-based data company Nielsen revealing that approximately 314 million people are now interested in the game. It is perhaps no surprise then, that Hublot recently announced its support, becoming the Official Partner of the Women’s EURO 2021. “In the end [football] talks to the consumer. It doesn’t matter that not everyone can afford to buy a luxury watch, if they know Hublot is a watch that’s positive,” says Ricardo Guadalupe. But the partnership works both ways. As Guy-Laurent Epstein, Marketing Director of UEFA Events SA, puts it, Hublot’s presence as a world-famous brand is “proof women’s football can be supported on its own merits”.

Find out more: hublot.com

This article was originally published in the Summer 2020 Issue.

Drawings for Ruinart 2020, by David Shrigley

Glasgow-based artist David Shrigley is best known for his playful and humorous illustrations, which are often accompanied by deadpan captions, commenting on the banality of contemporary life. He was nominated for the Turner Prize in 2013, and has had major exhibitions at the likes of London’s Hayward Gallery and Manchester’s Cornerhouse. Here, the artist discusses his creative process, the interaction of language and his latest collaboration with Maison Ruinart

David Shrigley

1. Tell us about your concept for Maison Ruinart?

The concept behind ‘Unconventional Bubbles’ is about taking the viewer on an enlightening yet playful journey of champagne production whilst enhancing awareness about the environmental challenges that motivate and drive Maison Ruinart on a daily basis. The paintings also consider champagne production on a symbolic level. Like the fact that it is a living product and that it is made from a plant that grows in the ground. It is subject to the elements: to the soil, to the sky, to the weather, to the bugs that either destroy it or facilitate pollination. For me, there are may interesting metaphors there.

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There is a certain magic to it too, in which the micro organisms that make the bubbles create the critical element of the champagne. I like the idea that it is something from nothing, that it has to be kept in darkness and all these things have to happen in darkness, that they happen in a cave which is found under the ground. If you described champagne production to someone who didn’t know what champagne was, who didn’t know what wine was, it would seem like some esoteric activity.

Then, there is the idea that champagne occupies a special place within beverages, one synonymous with celebration, synonymous with luxury. This association with celebration connects it to the beginning and ending of things: the beginning of a marriage, or the end of a project. I’m interested in trying to find these metaphors, and the poetic aspect within the story of champagne.

2. What did you learn from the experience?

This collaboration has given me the opportunity to learn something about the complex process of making champagne and to make art that addresses that, to find a way to say something about that process. It is a voyage of discovery: I had no expectations, other than to learn something. The process was to visit Maison Ruinart, to speak to the cellar master, to speak to the people involved in the production so as to understand more about champagne production within the larger operation, which everyone is very passionate about. For me as an outsider—as someone who has drunk quite a bit of champagne over the years, and enjoyed it, including Ruinart – I have never thought that much about its production or how it was made.

Ruinart 2020 by David Shrigley

3. Your images are often accompanied by lines of text – how does language interact with your art?

The interesting thing about working with Maison Ruinart is that it is a collaboration. It is a project whose criteria are ideal for a fine art commission. In terms of how I normally create graphic art, I start with a blank sheet of paper and my job is to fill that space with whatever comes into my head. Usually there is nothing in my head when I begin so I often write a list of things to draw: an elephant, a tree stump, a teapot, a nuclear power station etc. I have a motto: “If you put the hours in then the work makes itself”. Maybe what I mean by this is that artwork (or a least, my artwork) occurs as a result of a process. That process for me is usually to draw everything on the list. Once those things have been drawn the story has begun; more words sometimes appear; sometimes just the words on the list; sometimes more pictures; until eventually the page is full and the artwork is finished.

When I tell people about this way of making work they are sometimes impressed (sometimes not) and they say that it seems as if the work “comes from nowhere”. Having thought about this at some length, I have come to the conclusion that this isn’t the case. Art is not the creation of something new but the creation of connections between things that already exist. In this case the connection between the things on the list and the words used to describe them. But as soon as you make a statement about what art is or is not you almost immediately realise an exception to that rule.

Read more: Princess Yachts CEO Antony Sheriff on a new generation of yachting

Anyway, when making art on the subject of champagne production, one must make several visits to the champagne region. One must visit the crayères and the vineyards and the production facilities and one must ask questions of the people who work there and listen very carefully to what they say. And most importantly, you must drink some champagne. It also requires a different list of things to draw: the vines, the grapes, the soil, a bottle, a glass, the cellar master, worms, the weather etc.

One of the problems (sometimes it’s a problem) with my way of working is that when I say things through my work (the text and the image), I often don’t really know what I’m trying to say; I say it and then try to figure out what it means afterwards. Maybe it is like when a child is learning how to speak. I like to think that all artwork is a work in progress; the meaning develops and changes depending on who views the work and the context in which they view it. Meaning ferments like wine. I realise that what I am saying about the production is perhaps not what the people I have met at Ruinart would say about what they do. Maybe they might even have a problem with it. But I think it should be acknowledged that the fermentation process has only just begun and it may be some time before it is finished, if ever.

I made one hundred drawings based on my experiences of being at the House of Ruinart. The message conveyed through champagne and the brand is important. I need to start with those things. I made illustrations based on text and found a way to incorporate them into the work. But with the majority of the drawings, an image came first, and I thought about what the text should be after.

4. What role does humour play in your practice?

I guess years ago I was always keen to stress the work was incidentally funny and that I was trying to be profound and comedy was just a facet. Over the years I’ve come to realise that comedy is very important. The issue is people expect you to be funny all the time. I’m always keen to stress I’m not a comedian and I am an artist, which negates my obligation to be funny all the time. Comedy is really special and sublime. To explain why something is funny sort of pours cold water on it…

Ruinart 2020 by David Shrigley

5. How has the current global crisis affected your creativity?

I worked alone from home on smaller formats anyway so I’ve been making drawings for the last six weeks or so. I just worry about other people at the moment. Some of the work I’m producing now is influenced by the ongoing situation – or at least when I put it out there the viewer will associate it with that.

6. What do you miss?

I miss seeing friends and going to the football.

View David Shrigley’s portfolio: davidshrigley.com

The Princess Yachts’ X95 flybridge

Antony Sheriff has transformed the fortunes of Bernard Arnault’s yachtmaker Princess, creating boats that are stylish, in demand and environmentally innovative, for a new generation of consumer. LUX gets his story

Antony Sheriff

“It’s the sports car of the range. The hull reduces drag by 30 per cent, and it has sports-car-like performance and a Pininfarina design.” Princess Yachts CEO Antony Sheriff is enthusing over a projection of the R35, his company’s cool-looking 35-foot yacht, the latest in a series of innovations he has overseen in what is fast becoming known as the most dynamic yachtmaker in the world.

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“Sometimes,” he says, “if you are doing something new and are innovating, customers don’t know what they want until you give it to them.” Sheriff has been responsible for a number of innovations at the company, which is owned by LVMH-owner Bernard Arnault through his private equity company L Catterton, both on the product side and on partnerships.

The stateroom (above) and exterior of X95 yacht

In 2016 he launched a collaboration with the Marine Conservation Society, aimed at helping clean up ocean plastics, conserve coral and aid the conservation of marine creatures such as turtles. The Italian-American, who in his previous job launched McLaren’s hybrid P1 hypercar as CEO of the company’s road-car division, is disarmingly straight talking. “We are an industry which makes beautiful products, but we haven’t always been that mindful of the effects they have. We wanted to do something quietly to reduce the impact of yachts on the sea.”

He says the impetus has not – yet – come from the market, but from his own initiative. “We are trying to do the right thing and would rather be on the front foot than the back foot. People enjoy yachting because of the beautiful environment, and we need to try and maintain the water in the state we found it in.”

Read more: Chelsea Barracks is redefining London’s garden squares

Sheriff says that, as with cars, the need to innovate for environmental reasons has actually ended up bringing better products to market. He points to the example of the X95, which has up to 40 per cent more space than its predecessor while using 30 per cent less fuel and matching it in performance; and the Y95, another super-slick collaboration with Italian design house Pininfarina, which seems to have taken up its unparalleled design of luxury modes of transport where it left off with Ferrari after the end of a collaboration there spanning decades.

The R35 performance sports yacht

Sheriff is a little scathing about some of the bloated products on offer from other yachtmakers, and adds: “We are putting the elegance and refinement back in yacht design, creating yachts that look like they belong on the ocean.”

Ultimately, though, he says the biggest change during his tenure since 2016 has been the change in the nature of the consumer. “Increasingly people are buying yachts not as status symbols but as places to spend a wonderful time with family and friends. You go on a family vacation in a yacht and it’s the best vacation possible: the kids stay together with you for fantastic family time, they can’t run away to the nightclub, and you get to spend time with each other in private in a beautiful place.” And, if some of the latest Pininfarina designs continue in the same vein, on a beautiful place, too.

Find out more: princessyachts.com

This article was originally published in the Summer 2020 Issue.

Conrad Shawcross’s sculpture Bicameral at the pedestrian entrance to Chelsea Barracks.

Chelsea Barracks has already established itself as one of the most desirable places to live in London. Its gardens, with their planting schemes, public artworks and open access, are adding to the city’s continuing and defining history of garden squares, as Anna Tyzack reports

There are many measures by which London could be said to be the greatest city in the world. It is a (possibly the) financial and business hub; a crossroads between the Americas, Europe and Asia; a cultural centre that combines 2,000 years of history with being on the world’s leading edge in creativity in the 21st century.

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It is also the world’s most liveable great city. Yes, there are surveys published in trendy publications each year that tout the virtues of earthy locations in crispy-clean countries. But successful, ambitious humans want to live and work in a place where they can be surrounded by their peers: to be right in the heart of a city teeming with global leaders in finance, the arts, creativity, science, philanthropy and international trade. And yet they also crave a standard of living. Their villa on Cap Ferrat for summer and lodge in Aspen for winter have infinite light, space, nature; and London is the only city of its level in the world that can offer these semblances of space and green alongside its myriad other draws. London is the greenest city in Europe: almost 50 per cent of its surface area is parks, gardens, natural habitats or water.

In the most authoritative measure of its kind, London and New York regularly swap places at number 1 and number 2 slots in the Knight Frank Wealth Report Global Cities Index: but for the ‘lifestyle’ subsection, London is, in 2020, at the top.

Bourne Walk at Chelsea Barracks

One unique aspect of London lifestyle is its garden squares. They developed naturally as spaces for inhabitants to relax and play as the city grew; became protected in law; and now many of them are the most desirable addresses in the city. Garden squares in London can be public (run by the local councils) or private (owned and used by the local landowners); the best are hives of culture, leisure and joy.

And now there is a new crop of squares coming to life. Uniquely, they are in central London, an area not known for its propensity to be developed. They are the creation of Chelsea Barracks, a new super-luxe five-hectare residential area built between super-prime neighbourhoods Chelsea and Belgravia on the site of what was for 150 years an army barracks.

Read more: In conversation with ballet dancer Sergei Polunin 

It is also unique in its concept and ambition. Rather than build yet another cookie-cutter set of branded residences inside an enclosed compound, sell them off and take the money, owner Qatari Diar is in for the long term: the aim is to create a new neighbourhood, not just for those fortunate enough to afford the residences lining the new streets, but to welcome anyone who is drawn in by the beautiful and distinctive urban planning.

And the squares. There are two hectares of garden squares and public spaces, open to all, in the development: in all, seven new squares are being created. The idea is that residents can enjoy them permanently, and through an artfully curated cultural programme, visitors can pass through, linger and enjoy the first, and last, new area on this scale likely to be developed in central London for, well, probably ever.

Whistler Square is named after the artist James Abbott McNeill Whistler who once lived in Belgravia

They are also very much not a recreation or pastiche of existing garden squares. “Our gardens are very different from the traditional idea of railings around a set of trees and a lawn – we didn’t want rules or hostile architecture giving any sense that people were being segregated,” says Richard Oakes, Qatari Diar’s Chief Sales & Marketing Officer Europe & Americas. “Given we were working on what is going to be the most exclusive addresses in London, we had to find a new way of considering what is a garden square.”

This takes a delicate balancing act. The open spaces at Chelsea Barracks (which amount to a lot more than just garden squares) are aimed at attracting visitors and establishing the area as a cultural hub; while residents still feel a sense of exclusivity.

Read more: Van Cleef & Arpels CEO Nicolas Bos on the poetry of jewellery

The landscaping is contemporary in style, while referencing the traditional garden square, with water features to bring a sense of calm and tranquillity and bulbs and flowering trees such as magnolia to add colour and structure throughout the seasons. The red Chelsea Barracks rose, inspired by the intricate petal-shaped window in the restored Garrison Chapel, and cultivated for Chelsea Barracks by grower Philip Harkness, features prominently in the planting. “The gardens provide a spectacular new front door for Chelsea Flower Show, which takes place next door, at the Royal Hospital,” Oakes says.

Here and above: Mulberry Square’s garden planted with lavender, rosemary and strawberries

In Mulberry Square, for example, residents overlook a shallow water rill and a fragrant garden planted with lavender, rosemary and strawberries, a tribute to the patterned canvases of artist Bridget Riley. Here there are benches to sit on with a book or to enjoy a peaceful moment listening to the sound of the water.

Read more: How Gaggenau is innovating the ancient art of steam cooking

Meanwhile Whistler Square, in the northern part of the Barracks, is named after the artist, James Abbott McNeill Whistler, who lived in Belgravia and Old Chelsea. It has as its focal point a bronze-edged Cumbrian black-slate scrim, no deeper than a finger nail, decorated with fragile etched lines to represent the lost rivers of London.

But culture, as much as gardens, is at the heart of the development. Garrison Chapel, which forms the centrepiece of the development, is a restored, listed and significant historical structure. It has been painstakingly restored by a host of British artisans including lime plasterers, fresco artists and stained-glass experts and will once again be a place for locals to gather. The new bell, an exact replica of the damaged original, was commissioned from Britain’s last surviving bell maker, John Taylor & Co of Loughborough.

Strikingly positioned, it will be the centre of an art and culture programme, which will spill out into the squares and spaces. It will involve performance art and installation as well as static art, with a focus on giving young and emerging artists a bedrock in the centre of London, an area for so long dominated by art dealers rather than artists. Striking also is the focus away from just retail: life, space and culture, rather than transaction, is what this new area aims to be about.

Public artwork at Chelsea Barracks

A tree-like sculpture by Conrad Shawcross is the first public artwork to be installed at Chelsea Barracks. Casting dappled shade onto Dove Place, the pedestrian entrance to the development, Bicameral comprises 693 components and stands 8m in height. It can be  seen, as Shawcross explains, as an Arcadian symbol for reason, humanity, rationalism, progress and hope, and it was designed to pay homage to the craftsmanship found at the Barracks. The sculpture was created entirely without welding; its interlocking forms are held together by techniques derived from Japanese wood joinery.

Chelsea Barracks in numbers

• Apartments in Chelsea Barracks cost from £5.25 million.
• Townhouses, each with a roof terrace, spa with pool, gym, garden and private garage, cost from £38 million.
• The Garrison Club is for the exclusive use of residents. With all the advantages of a private club, amenities include a 1,800 sq m spa and gym; private cinema, games room, residents’ lounge and business suite with two boardrooms.

Find out more: chelseabarracks.com

This article was originally published in the Summer 2020 Issue.

One of the beach suites with a private pool at Alphonse Island

Keith Rose-Innes is an environmentalist and globally renowned fly-fisherman. Having first travelled to the Seychelles as a fly-fishing guide, he is now the Managing Director of Alphonse Island, where he continues to promote sustainable travel. Here, he speaks to Chloe Frost-Smith about falling in love with the Seychelles, building an eco camp and his predictions for the travel industry after lockdown

Keith Rose-Innes. Credit Nick Kelly

1. Your passion for fly-fishing has taken you all over the world. What has been your most memorable moment from your travels?

My first trip to the outer atolls of the Seychelles is still my most memorable travelling experience. Google Maps didn’t exist in the early days and we would arrive with old nautical charts. It was incredible knowing that you could be the first person to guide a fly-fisherman on that particular flat, and that you might discover an incredible spot at any time and then personally, name it for guests to experience in the future.

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Sustainable tourism provides the opportunity to form partnerships that can protect places such as these. Unlike many other fly-fishing driven conservation efforts, we have never been focussed on solely protecting the marine environment; we have also contributed equally to the protection and preservation of the terrestrial ecosystems of the outer atolls. The Alphonse Fishing Company, Blue Safari Seychelles, Islands Development Company and Island Conservation Society have joined together to form a partnership to manage and execute strategies and projects to protect the species and environments through means of public funding, which is collected via donations and fundraising initiatives. These funds are then donated to the foundations of Alphonse, Farquhar, Cosmoledo and Astove. These are specific to the individual atolls to oversee the funding of the projects operated by the Island Conservation Society. Each destination has a weekly presentation that provides a detailed update of the progress the various programs are making and also provides the opportunity for guests to discuss the environmental topics with qualified environmentalists and marine biologists.

An aerial view of Poivre Island, one of the Seychelles’ outer islands

2. Other than the obvious, what made you decide to settle in the remote atolls of the Seychelles?

I cut my teeth as a fly-fishing guide in the Seychelles 22 years ago and guided full time for 17 years before co-founding Alphonse Fishing Company and now our latest initiative, Blue Safari Seychelles. The years I’ve spent promoting and establishing the remote atolls of the Seychelles as one of the world’s best saltwater fly-fishing and ecotourism destinations have been the best years of my life. Although I travel extensively and have a second home in South Africa, my real home is on the remote atolls of the Seychelles. If I had to hang my hat anywhere in the world, it would be in the Seychelles. Living how I do comes with obvious perks, not least of which is access to the various incredible ecosystems on my doorstep. I have been lucky enough to be the first to fly fish and guide trips to numerous of the now well-known outer atolls of the Seychelles. Many would call it pioneering, but I see it as school fees. I know the outer atolls of the Seychelles so well and I love every day that I get back out on the water.

3. What was the inspiration behind Cosmoledo Eco Camp, and do you have any plans to create similar concepts anywhere else in the future?

The purpose of the Cosmoledo Eco Lodge is to establish sustainable ecotourism in line with the Blue Economy, as well as to conserve and monitor the area. One of the most important reasons for the camp is to have a year round presence monitoring the environment to deter foreign, commercial fishing activities which have been taking place. During the months from May to November when the Eco Camp closes to guests, a team of Island Conservation Society rangers and scientists stay on location with our skeleton crew to monitor the area.

The temporary and minimalistic camp was constructed with recycled containers that were retrofitted in South Africa, shipped to Seychelles and then placed on plinths and opened up to form a front deck and back bathroom. The entire container is covered with a sail to create shade and cover from the rain. It’s a concept that I hadn’t seen done anywhere else and echoes a sense of responsibility as almost everything used in the building was recycled.

The feeling you get when staying in a very comfortable, air-conditioned and full glass front container is unique. It’s almost like the cabin of a ship placed in a nature wonderland. The bird sounds, untouched vegetation and view over the lagoon are incredible. The main central area is a tent that is placed on the sand and placement of the camp was selected where there were foundations from buildings erected in the past. The entire camp can be removed completely without leaving any trace of humans behind.

A beach villa at Alphonse Island

4. What were the main challenges of turning shipping containers into entirely eco-friendly pods?

Initially, it was difficult to imagine how we’d fit all the necessities in such a small space, but once completed, we realised how little you actually need. The next hardest aspect was fitting everything onto three barges [for transportation] and building the camp in only 21 days. We couldn’t fit all of the necessary furniture onto the barges, so we decided to build some it on site from the recycled pallets and timber, which were used to brace everything inside the containers when shipped.

Read more: How Andermatt Swiss Alps is tackling climate change

5. How do you think travel has been impacted by the current lockdown, and what will travel look like once this period ends?

I think it’s still too soon to comprehend the outcome as we are only starting to feel the far-reaching ramifications of a total lockdown of the worldwide tourism sector. It has affected our business immensely as we have hibernated all islands. We are, however, in a strong position and we will open up when things are safe to do so.

My outcome is somewhat positive as smaller to medium-sized private hotels should excel and especially, in destinations that have not experienced any cases of Covid-19. Hotels that have an emphasis on safety, social distancing and health protocol will be focused on.

I do feel that long-haul travel will be somewhat impacted from a health concern point of view and vacation travel may become less frequent, but as the focus shifts towards wellness it is quite possible that travellers may choose longer periods at a destination that caters to all needs, whilst avoiding busy airports and numerous flights. Without a question, there will be a renewed focus on family time, wellness, authenticity, environmentally-friendly travel, well-being and nature. After lockdown, family time will be key, which is why I believe small eco-lodges with family-based activities will excel.

A guided walk on Alphonse island. Image by Anthony Grote

6. Have you seen any positive effects on the environment during lockdown, and if so, are there any sustainable steps which can be taken to ensure these continue?

We haven’t seen any direct environmental positives that directly relate to Covid-19 other than less air pollution. There are some negatives as a weak economy prevents our ability to fundraise for the foundations that protect our atolls.

There has, however, been a huge silver-lining. My life’s work has been to try to assist in protecting these amazing places and on the 26 March 2020, the President of the Seychelles, Danny Faure, officially signed the bill demarcating 30% of the territorial waters of the Seychelles, legally binding Marine Protected Areas as part of the large-scale Seychelles Marine Spatial Plan. This is a first-of-its-kind initiative, exchanging national debt relief in exchange for ocean conservation policy co-designed by the Nature Conservancy, Seychelles Government and the World Bank. The Alphonse Group, Desroches, Farquhar, Poivre, Cosmoledo and Astove are all included in the gazette, culminating in a five-year project led by the UNDP-GEF with Island Conservation Society, Blue Safari and Alphonse Fishing Company as some of the key partners amongst others who are specifically focused on protecting the unique and pristine tropical marine ecosystems of these remote atolls. The policy designates the offshore waters up to 1km from the outer coral reefs as protected ‘Areas of Outstanding Natural Beauty’. These designations seek to conserve the exceptional biodiversity and natural value of these marine areas whilst ensuring the enjoyment of sustainable ecosystem services into the future. We are blessed to have the Seychelles Outer Islands in a prestige state that has changed very little since the early days and now, it’s up to us humans to protect it.

Find out more: bluesafari.com, alphonse-island.com

Ballet dancer, actor and entrepreneur Sergei Polunin. Image by Alex Kerkis

Tattooed, athletic and outspoken, ballet maestro Sergei Polunin has a way of keeping everyone on their toes. LUX talks to the dancer, actor and entrepreneur about his internet-breaking video for Hozier, working with Kenneth Branagh, and dancing in virtual reality

1. Can you describe your style of dancing?

It’s a combination of having trained in two different countries: Russia, with its classical training, precise technique and good clean positions, and England, where there is a lot of acting and expression in every movement.

2. Are you a rule-breaker?

I actually enjoy following the rules when it comes to ballet. When you’re training, you need to follow a very strict path, but in order to perform, you need to feel free. During performances, I try to discard the rules and translate what I feel for the audience.

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3. Your feelings about ballet institutions seem untraditional, though?

I’m trying to build an alternative system to compete with the old theatre system, which has been going since the 1800s, where ballet dancers are signed up and then are told exactly what to do for their whole career. They’re not allowed any representation or to negotiate for money or to choose their next project – like old Hollywood. I’m working with the government to offer dancers more money and freedom and to create some healthy competition.

4. What is the biggest misconception about male ballet dancers?

That they are silly or feminine. I was never bullied for dancing, though; I’ve always considered it a man’s job. Boxers learn dancing to improve their flexibility and to hide emotions. Just as a dancer never shows how hard they are working, a fighter hides where his next punch is coming from. Also, if you choose to study ballet, you’ll be surrounded by girls! That would never happen with football.

5. Did you expect Hozier’s ‘Take Me to Church’ video with your dance to go viral?

Not really, no. When they filmed the video, I had been thinking about quitting dancing for acting, so I wasn’t in the best shape at the time. I’m happy that so many people appreciated it but I still see lots of technical mistakes!

Here and above: Sergei Polunin photographed by Morgan Norman

6. How do you connect with the audience when you are dancing in an arena?

Performing for that many people gives me more energy. I could actually dance larger, perform bigger! It’s important to show that ballet can work for big stadium audiences, too.

7. What great traditional ballet roles are left for you to perform?

So many amazing dancers have already performed these roles, I don’t think I could add anything. I want to create new things instead.

Read more: Van Cleef & Arpels CEO Nicolas Bos on the poetry of jewellery

8. Are there any stories begging to be made into a ballet?

Many! You can turn anything into a ballet. Imagine a Marvel or DC comic and dancing as the Joker or the Penguin.

9. How about a ballet about the Kardashians?

Absolutely! Dance has no boundaries. You can dance as a chess piece, a planet, a myth, a god.

10. What do you think is the future of dance?

Virtual reality and 3D technology are the perfect mediums for dance. Once a dance is done, how can the performance be saved forever? I think virtual reality is the answer.

11. You’ve acted in films directed by Kenneth Branagh and Ralph Fiennes. Did they give you any acting advice?

They didn’t have too many corrections on set. I think as an actor you transfer your personal energy into the role. Some actors just make you want to look at them, like Mickey Rourke or Marlon Brando on screen – I don’t care what they’re doing or saying, I just look at them.

12. Can you imagine a life without dancing?

Dance is my centre and my core. I always come back to it. It comes easily to me, but I don’t spend time thinking about it. I pursue other things like acting and I’m building a foundation to bring together financing, resources and people to develop and fund creative projects. I want to support different kinds of talents – choreographers, lighting designers, costume designers, painters, film directors, playwrights.

Discover more: poluninink.com

This interview was originally published in the Summer 2020 Issue. 

The Göscheneralpsee reservoir west of Andermatt is fed by the Dammastock glaciers.

Climate change is creating challenges for mountain resorts the world over. In Switzerland, a new luxury resort is leading the way in incorporating ecologically sound design into every aspect of their development. Jenny Southan discovers the innovations and advances being made in Andermatt

We all know that climate change is a problem, but for ski resorts, which rely on consistently sufficient snowfall, the challenge is particularly pressing – as snow, especially at lower altitudes, decreases, many will be forced to shut down (hundreds have already been abandoned across the Alps). And as the number of ‘snow-certain’ destinations dwindle, there is the added problem that by 2050, half of Switzerland’s 4,000 glaciers are forecast to have disappeared.

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However, the good news is that humans are incredibly innovative, and if serious steps are taken now to combat carbon emissions, the negative effects of climate change could be mitigated. Leading the way in Switzerland is the Andermatt Swiss Alps (ASA) development project, which is one of just a small handful of resorts that is taking serious steps to up its eco credentials and ensure its longevity as an outpost for winter sports.

Stefan Kern, head of PR and communications for ASA, says: “The project is heavily dedicated to sustainability. This is a core value of all our activities – from energy consumption to construction and gastronomy. We are proud to be on the way to being a fully carbon-neutral holiday destination.”

Looking down into the Ursern valley from Schneehüenerstock. Image by Valentin Luthiger

Demonstrating its commitment to the cause, ASA teamed up last year with the Swiss branch of American NGO Protect Our Winters (POW), which is helping it to devise sweeping, longterm initiatives to reduce its carbon footprint, as well as consumption of single-use plastic (none is sold at resort sites). At the beginning of 2020, ASA also launched Andermatt Responsible, a platform that “looks at the whole company’s footprint from heating to energy to water,” as Nicholas Bornstein, head and founder of POW Switzerland, explains.

Read more: Van Cleef & Arpels CEO Nicolas Bos on the poetry of jewellery

A political scientist with a Ph.D in Swiss environmental policy, there are few people better equipped than Bornstein to discuss combatting climate change in mountainous regions. He says that POW “allows me to combine my love of the outdoors with meaningful action”. He explains that his organisation works to “mobilise our community to implement climate change protection measures” via groups of local activists, professional athletes, companies and mountain guides, who act as ambassadors.

The Andermatt golf course. Image by Martin Wabel/Bildsektor.

How is climate change affecting Alpine ski resorts? In addition to making ski seasons shorter, Bornstein says: “The snow line has risen approximately 300 metres in the past 40 years, and is predicted to go up a further 500 to 700 metres by the end of the century, and this is putting a lot of ski resorts out of business.”

He also notes that conditions are becoming more dangerous. “We have seen avalanches in mid-winter of the kind that we would expect in April and May. They are becoming harder to predict.” Why? If the ground isn’t cold enough when it starts snowing, an insulating layer is created by the snow where heat is trapped and snow can slide off more easily. “We call these ‘fish mouth’ avalanches,” says Bornstein.

Read more: Jason deCaires Taylor on underwater art & ocean conservation

ASA has identified key contributors and is taking steps to reduce their impact. Bornstein says that approximately 50 to 70 per cent of CO2 emissions in Andermatt are from people coming to the resort by car so they are putting on extra trains from Zurich at weekends, offering discounted ski passes for people who don’t drive (driving in general here is restricted and there is a good bus system for those who don’t want to walk, including an electric bus). Andermatt Reuss is for pedestrians only.

Andermatt seen from the Gütsch ski lift

Food production and logistics are also big polluters, especially in Switzerland which imports a lot of goods. Bornstein says that POW has been working with restaurants in ASA to
put a more regional and vegetarian cuisine on menus. Andermatt’s gourmet restaurants are also reducing the amount of plastic-wrapped ingredients they buy.

Even more impressive is the fact that the entire SkiArena of Andermatt (from homes to ski lifts) is 100 per cent powered by hydroelectric and wind-powered energy supplied by Ursern electricity works, which exclusively serves the Gotthard region. (On the Graubünden side of Andermatt, Energia Alpina also provides 100 per cent renewable energy.) Not only that but all the buildings are heated in a totally carbon-neutral way through the burning of locally sourced wood pellets and surplus heat captured from Swiss army computers buried deep in secret bases in nearby mountains.

Read more: How Gaggenau is innovating the ancient art of steam cooking

“People want to see companies stepping up to the challenge and we believe it is going to become more important to position yourself with a ski resort that cares about the future of the environment,” says Bornstein. Even during the summer when people play golf surrounded by green meadows, ASA has ensured that its 20-plus species of birds have plenty of areas to nest around the course – in fact, there are more birds here today than there were before the course was built, demonstrating that being responsible can benefit both nature and mankind.

RING IN THE NEW

Arve Chalet Apartments

Arve Chalet Apartments
Arve is a five-floor block of 17 residences (73–116 sq m in size), each with open-plan living and dining spaces, and window seats offering views of the mountains.

Enzian Alpine Apartments

Enzian Alpine Apartments
Enzian  is a modern, three-floor Alpine villa housing 12 apartments measuring from 62 sq m to 136 sq m. Some come with saunas, private roof terraces and gardens.

Find out more: andermatt-swissalps.ch

This article was originally published in the Summer 2020 Issue.

L’Arbre aux tourmalines (1976) by Jean Vendome © MNHN/F. Farges.

The heritage of Parisian jeweller Van Cleef & Arpels is being honoured by an exhibition at the Muséum National d’Histoire Naturelle in Paris, in which their gems from across the years are being shown alongside the raw stones that such jewels are made from. On the eve of the show’s opening, LUX meets with the maison’s CEO, Nicolas Bos

Nicolas Bos & Cate Blanchett. © Dimitrios Kambouris/Getty.

LUX: How does seeing the raw beauty of stones extracted from the earth affect your appreciation of fine jewellery?
Nicolas Bos: The aim of this exhibition is to show alongside each other the raw minerals, faceted gems and finished jewellery creations. This juxtaposition really emphasises the stones’ journey from the depth of the Earth into the craftsmen’s hands that will reveal their beauty. In front of raw minerals, we cannot but be humble and admire what nature can create. It is also with great pride that we can see what we are able to accomplish today with these treasures through our know-how.

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LUX: The exhibition shows that humans have always been drawn to adornment. Is the lure of jewellery today different to ancient times?
Nicolas Bos: Since ancient times, both men and women have enjoyed adorning themselves with precious and rare materials. Over the centuries, jewellery and lapidary techniques have evolved, new materials have been found and new sources of inspiration and artistic movements have forged new creations. Society has also significantly evolved, with changes in how jewellery is perceived.

Cravat necklace, 1954. © Patrick Gries.

Bluebird clip, 1963. © Anthony Falcone.

LUX: Jewellery companies seem to be doing ever more exhibitions – why is this?
Nicolas Bos: Exhibitions are a great way for a centenary maison such as ours to reveal the evolution of its style across the decades. Furthermore, for Van Cleef & Arpels, transmission, education and culture are fundamental values. That is why we conceive or participate in exhibitions (be it patrimonial or even contemporary). We display creations not just by the maison; we also focus either on the spirit of a particular era (the 1970s and Alhambra, for example), or on a source of inspiration, or on a particular material such as gems. The maison has over several years initiated relationships with great cultural institutions such as the Musée des Arts Décoratifs or the Muséum National d’Histoire Naturelle, both in Paris, to encourage thoughtful and pertinent dialogues between jewellery and other fields such as mineralogy or the decorative arts in general. The collaboration with the American artist Bob Wilson, in 2016, with a scenography based on Noah’s Ark’s highlighting a high jewellery collection, also expressed this wish to link our creativity with other arts. Another example, in 2017, at the National Museum of Modern Art in Kyoto, paralleled traditional Japanese craftsmanship and Van Cleef & Arpels jewellery expertise in the exhibition ‘Mastery of an Art’.

Read more: How Gaggenau is innovating the ancient art of steam cooking

LUX: How would you summarise the brand or aura of Van Cleef & Arpels to a new client?
Nicolas Bos: I would say that the maison puts poetry and enchantment at centre stage in all its creations, be it high jewellery or jewellery or timepieces. Over the years, Van Cleef & Arpels keeps reinventing itself while always staying faithful to its original DNA. Its sources of inspiration range from nature and couture to dance, astronomy and imaginary worlds.

Eucalyptus seed clip, 1968. © Bertrand Moulin

LUX: The ‘Gems’ exhibition includes modern recreations of significant historical jewellery, such as the Toison d’Or worn by Louis XV. What does a piece of historical jewellery tell you about how the wearer once lived?
Nicolas Bos: I’m not a history expert and the maison did not participate in these recreations but it is true that they are impressive. The Toison d’Or underlines the magnificence in which French monarchs used to live and it highlights their taste for exceptional stones and adornment in general. I would like also to mention a special piece that belongs to the Muséum National d’Histoire Naturelle collection and is of real interest – the tourmalines mobile/tree created by Jean Vendome. This is a real masterpiece that exemplifies the fine work bringing together jewellery, sculpture and design.

LUX: Are lab-grown gems a threat?
Nicolas Bos: We do not consider them as such at Van Cleef & Arpels. They are another type of material which has nothing to do with our idea of jewellery. They are industrial objects which don’t have the rarity, the preciousness or charm that natural stones gain after spending millions of years in the depths of the Earth.

Gladiator clip, 1956. © Anthony Falcone.

LUX: Does learning about the origins of gemstones in an exhibition such as this teach us about the earth from which they came? Does it influence Van Cleef & Arpel’s attitude towards provenance and sustainability?
Nicolas Bos: Sustainability is a core value of Van Cleef & Arpels: we are a certified member of the Responsible Jewellery Council (RJC) which has the strictest standards of responsible practices for the jewellery industry. We also ask our suppliers to be certified with the RJC in order to promote good practices in the supply chain and we audit them as well. All diamonds purchased by Van Cleef & Arpels are compliant with the Kimberley Process Certification Scheme which has worked since 2003 to put an end to the trade in conflict diamonds. We also work with multi-stakeholder initiatives on responsible sourcing and supply-chain due diligence, in particular for coloured gemstones.

LUX: Can you describe the Van Cleef & Arpels high jewellery piece that is inspired by the exhibition?
Nicolas Bos: In order to fit in with the central theme of the exhibition, the maison imagined a unique high jewellery object comprising stones, gems and jewels, some faceted, some polished, some raw. Through the work of craftsmen’s hands these stones speak with each other, adding a highly original piece to the history of Van Cleef & Arpels. It provides a fittingly precious and poetic conclusion to this exhibition.

The exhibition ‘Pierres Précieuses’ runs until 3 January 2021 at Muséum National d’Histoire Naturelle in Paris 

View the collections: vancleefarpels.com

This article was originally published in the Summer 2020 Issue, out now.