Image courtesy of Moët & Chandon

LUX joins Moët & Chandon’s cellar master Benoît Gouez, over Zoom, at Château de Saran for an exclusive tasting of the champagne house’s latest vintage release

It’s hard to imagine a more perfect setting in which to drink champagne than Château de Saran, Moët & Chandon’s grand 18th-Century hunting lodge in Épernay where close friends of the maison – celebrities, fashion designers, artists politicians and royalty – are invited for glittering dinners and intimate soirées. Sadly, due to pandemic restrictions, our tasting happens over Zoom, led by Moët & Chandon’s distinguished cellar master Benoît Gouez, who introduces and opens the Moët & Chandon Grand Vintage 2013 while seated in the château’s majestic drawing room. Meanwhile, we have our own bottle, along with the Grand Vintage Rosé, to sample, complete with two Moët & Chandon glasses.

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First created in 1842, and now in its 75th iteration, each Grand Vintage cuvée is created from a selection of a single year’s most remarkable wine that reflects the cellar master’s subjective and emotional assessment of the personality and potential of each variety. Mr. Gouez explains that 2013 was a particularly cold and wet year, which resulted in a delayed harvest in October, followed by a cool spring and then, uncharacteristically warm summer. All of this, however, helped to create the sensuous, rustic aromas of the vintage – initial notes of fresh apple and pear give way to more textured, woody flavours. It might seem trite to say, but it tastes golden, bringing to mind the warm shades of autumnal leaves. By contrast, the Grand Vintage Rosé is more fruity and floral, with a slight hint of spice.

Moët & Chandon Grand Vintage 2013 Rosé. Image courtesy of Moët & Chandon

At the end of our tasting, Mr. Gouez leads us (virtually) through to the Château’s kitchen where Executive Chef Marco Fadiga teaches us how to prepare a dinner pairing for the rosé: poached lobster in a grenadine and grapefruit broth. Despite following the chef’s instructions carefully, our final dish, inevitably, doesn’t look (and most likely taste) anywhere near as delectable as his, but the fresh bitterness and sweetness of the fruit with the meatiness of the lobster bring out the depth and richness of the rosé beautifully. By the end of the evening, we’ve almost forgotten that we’re not actually in a French hunting lodge overlooking miles of verdant green vineyards in the capitale du Champagne.

Find out more: moet.com

Hermès perfumer Christine Nagel. Photograph by Sofia Etmauro

Christine Nagel is one of the most admired perfumers in the world, and has worked as the “nose” of Hermès since 2016. Most recently, she created H24, the brand’s first scent for men in fifteen years. Here, she discusses her approach to creating fragrances and how the industry has changed over the course of her career

LUX: What was the catalyst for your decision to become a perfumer?
Christine Nagel: I am a Swiss national with an Italian mother, I grew up a long way from Grasse and the world of perfumery. My encounter with perfume came through my studies in organic chemistry and my first professional experience. Alberto Morillas, whom I saw from my office window, was instrumental in my decision. He asked two young women to smell his trial fragrances. I saw their smiles, I felt their emotions, I perceived their pleasures. At that precise moment, I knew. I was sure that this job, that allows you to give so much, was for me. So, it was through the infinitely small that I discovered the richness of perfumery. Then, I couldn’t rest until I had become a perfumer, constantly learning, experimenting and perfecting my knowledge. And some wonderful encounters have marked my life. I wasn’t afraid to take risks and luckily, they turned out well for me.

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LUX: What is your favourite scent?
Christine Nagel: The one I’m working on, that is to say the next one. Seriously, though, my favourites fluctuate, and I have no preconceptions about any material or any scent. All raw materials interest me. I like to transform things, I like to make green notes warm, woods liquid, and flowers hostile. But if I really had to choose one, it would be patchouli.

LUX: Do you have a set strategy when creating a new perfume?
Christine Nagel: Once again, there is no marketing intervention before creation. It supports creation, it doesn’t dictate it. What is remarkable about Hermès is the constant faith placed in creation and the creator. If I was chosen by the house, it was for this signature. This recognition is a source of delight every day because I am living my dream of creating fragrances that uphold and embody all the values of this house. My only aim is therefore to create exceptional fragrances.

Hermès’ new fragrance H24. Photograph by Quentin Bertoux

LUX: Should people have different perfumes for separate occasions?
Christine Nagel: A fragrance touches or speaks to us through how it resonates with our emotions, memories and desires. It can make us feel seductive or protected in turn. Everyone can find what they need for a particular time of day or year, or in a personal or professional context.

LUX: Are there advantages to having one gender create scents for the other?
Christine Nagel: No, from my point of view it is not a question of gender but a question of style, a question of signature and sensitivity. I don’t believe that people choose a fragrance on the basis of the perfumer’s sex anymore. That era is over. Women are behind some great creations, whether for famous names or niche brands.

Read more: Celebrating women in wine with VIVANT

LUX: Why has it been so long since Hermès created a male perfume?
Christine Nagel: There have been interpretations of Terre d’Hermès, but it is true that there have been no new creations from scratch. The success stories that have become classics have shaped the history of Hermès for men: Equipage in 1970, Bel ami in 1986, and Terre d’Hermès 15 years ago. They were all bold, and decisively different at the times they were created. They all represented the house’s values, with perfumery that made a statement, a free and committed type of perfumery that was deeply anchored in heritage to better innovate in the present. It was time. H24 is a fragrance for a new audience, in keeping with a desire for innovation and with the tradition of great French perfumery promoted by the house.

Christine Nagel in her atelier in 2017.  Photograph by Quentin Bertoux

LUX: During the past 30 years has there been a noticeable change in desire for perfume generally, or the type of scent demanded?
Christine Nagel: Since my early days in this wonderful profession, perfumery has changed, and I’m very glad it has. It has changed and adapted to every era. The changes are as much sociological and economic as they are artistic and technical. Economic because mass-market perfumery has emerged, sociological because it has adapted to everyone’s tastes, artistic because the perfumers who create the fragrances are named and showcased. And finally, technological because new methods for extracting materials, new molecules and tools for understanding and analysing materials have also shaken up the way fragrance is designed. As for predicting the future, I don’t want to do that because talking about trends is already talking about the past. But if I had a dream it would be to ban consumer tests and panels that have standardised and confined the world of fragrance.

Read more: Olivier Krug on champagne and music

LUX: Do you prefer combining scents or creating completely new ones? Creating a fragrance that belongs to an existing family or starting from scratch as for H24?
Christine Nagel: It’s not the same exercise and both are exciting. It is perhaps a little more difficult to create a fragrance within an existing family because it involves respecting its spirit, structure and imaginary world while adding your own signature.

Working on an icon, like I did with Terre d’Hermès and Eau des Merveilles, is daunting but also extremely stimulating. I move onto creation after a phase of observation where I examine the formula in depth. I want to understand its workings, decode its mysteries, and then, I immerse myself in creation without fear, which allows me to go quite far. And to be clear, each one is a genuine creation.

H24 100ml bottle by Hermès

LUX: What do you think a choice of perfume says about a person?
Christine Nagel: Fragrance says a lot, as does how it is worn. As I said before, perfume can be protective, acting like armour, a protective bubble to avoid others or, on the contrary, it can be a projector, seeking to seduce, to be seen, to show oneself. But it is nothing without the person who wears it. It only exists and speaks to the senses in the way it is used, whether that is abundant or discreet. However it is used, it makes it possible to be.

LUX: What is the most surprising thing you have noticed during your journey as a perfumer?
Christine Nagel: The incredible emotion that a fragrance can trigger. Scent is an endless source of emotions and stories, because each individual scent opens up a new narrative in an imaginary world.

LUX: Do you think in this day and age it’s appropriate to differentiate perfumes by gender?
Christine Nagel: No, I don’t. For me, fragrances are works of art, and as such are not created specifically for women or for men, but for humanity. The fragrance exists in itself, not in relation to its destination. In Eastern and Indian cultures, rose or patchouli can be worn by men. So it’s not the scent that makes the gender, because a scent becomes masculine on a man’s skin and feminine on a woman’s skin. We just have to know how to dare, be bold, trust ourselves and try things out.

LUX: Do you think the best perfumers are born with a creative olfactory sense or is it something you can learn?
Christine Nagel: That’s not an easy question to answer, but it seems to me that you need a certain sensitivity, a curiosity about the world and an open-mindedness that allows you to capture its richness, not forgetting a certain amount of generosity and the desire to share. You also have to be a hard worker because this job also requires great discipline and a lot of work. Finally, and this is as difficult to explain as it is essential, you need an extra measure of soul, a special something.

Discover Hermès’ collections: hermes.com

Dievole is surrounded by the endless green and gold hills of Tuscan legend. Photograph by Marco Badiani

The second half of our journey through Tuscany takes us to Dievole, a luxurious wine resort in the heart of the region’s famous rolling hills

Where

On a ridge surrounded by vineyards, olive groves and forests, in a wild part of Tuscany just 20 minutes’ drive from Siena.

The arrival

Dievole is surrounded by the endless green and gold hills of Tuscan legend. Arriving from Florence, you divert south towards Siena and turn northeast along a winding country lane, great houses appearing suddenly on hilltops, wild boars popping out of the vineyards. This is not a highly touristed part of Tuscany, you feel you are a visitor among locals, yet it is easy to get to Siena and the villages on the Chiantigiana trail. The last part of the journey takes you down a dust track to a tidy car park at the back of imposing stone buildings; there is also an old chapel opposite the pleasant reception office.

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The Dievole winery and hotel. Photograph by Alexandra Korey

The views

This is deepest northern Tuscany, the land of Chianti and olives. The hotel’s main pool has an infinity edge overlooking vineyards and a forest in the valley; forest and vineyard extend for miles up ridges and down dells. There is another pool of equal size on the other side of the hotel. Above the pools and below the main buildings are grassy gardens where you can sit and have lunch or a drink on a wonderfully casual scattering of garden furniture. The formal terrace, for breakfast and dinner, sits behind one of the gardens and has a symphony of cicadas at night time.

Read more: Professor Peter Newell on why the wealthy need to act on climate change

The rooms

Modern Tuscan chic without trying too hard: high ceilings, plenty of marble and space. Some rooms have the same views as the pool, others look more inwards, but all are generous, genuine, authentic and light.

The entrance to the villa (top) with views across the estate’s vineyards vineyards and the northern Tuscan landscape. Photographs by Alexandra Korey

Wining and dining

Breakfast is the standard Italian luxury fare of a buffet biased towards fruits and cheeses. Lunch was our favourite meal here, just sitting at a table on the lawn above the low wall, beyond which the ground dropped down into the valley below. The nearest other guest was 20 metres away; indeed, Dievole is a magnificent place for not feeling on top of anyone. For lunch, our favourite pick was a grilled turkey breast with a salad of local tomatoes, whose punchy flavours went with the flavours of the air.

Within a 20km radius of Dievole are some of the top wineries of the region and the hotel’s relaxed, professional staff seemed happy for us to sample their wares during lunch. Dievole’s own wines are served at the restaurant during dinner. Not as famous or profound as other local wines, theirs were well priced and a good accompaniment to the food.

The highlight

The views changing colour and texture daily; and the staff, who made things run beautifully without ever falling into the old Italian trap of getting in the way too much. Tuscany for true connoisseurs.

LUX rating: 9/10

Book your stay: dievole.it

This article originally appeared in the Summer 2021 issue.

Safari in Kenya. Image courtesy of Cottar’s Safari

Fifth generation family business Cottar’s Safaris offers a more meaningful kind of luxury experience. With three camps based in the Masai Mara, the company provides guests with the opportunity to get actively involved in various projects that centre around supporting the local community, wildlife and landscape. Here, co-owner and Managing Director Louise Cottar discusses their approach to sustainability, conservation and the future of travel

Louise Cottar

1. Cottar’s Safaris has a rich history that dates back to 1919. How has the business evolved while preserving its heritage?

‘Safari’ literally means journey, and the metaphor is also a truism for us as a family we continue into our second century of providing safari services in East Africa. It’s often uncomfortable to acknowledge that early conservation was intrinsically linked with hunting, but early on, and over five generations, we have purposefully shifted to become leaders in safari services that directly and indirectly contribute to conservation. We are now one of nine Global Ecosphere Retreats in the world demonstrating that business can protect and partner with viable productive ecosystems, local communities and indigenous cultures. Embedded in our family’s DNA are central covenants: to support and develop tourism on community-owned, wildlife rich land; to provide the highest standard of guiding; to stay true to the origins and essence of what makes a safari special; to provide both luxury safari accommodation and immersive safari experiences that have positive and sustainable impacts.

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2. What inspired the focus on the Masai Mara region and how is the company involved with the local community?

The Masai Mara is the jewel of Africa when it comes to wildlife experiences and there has always been one absolutely stunning sub-area, in the south-east part of Masai Mara adjacent to the Tanzanian border, that the Cottar family have loved the most and developed an enduring relationship with the Masai community.

The dining room at Cottar’s Bush Villa. Image courtesy of Cottar’s Safari

3. Why did you decide to set up the Conservation Camp and how does the experience differ from the 1920s camp and the villa?

Over the last twenty years, land surrounding the Masai Mara game national reserve was converted from community land to individually title-deeded land. We developed an initiative, asking the community to consider setting aside some 7,600 acres of land into one undivided plot for conservation, and uniquely they agreed. We lease and manage the 7,600 acre conservancy situated on this community owned land, providing a financial return for the community, whilst also securing a wonderful place for guests to visit and to value and enjoy productive ecosystems, incredible biodiversity, wilderness and wildlife. There are no fences between us and the national reserve, allowing us free movement between the two and securing for the wildlife migratory and dispersal corridors.

Read more: Travelling through Tuscany – Castello Banfi Il Borgo

One of our guests’ other favourite experiences is the chance to explore, understand and engage in Masai culture. Ranging from foraging and medicinal walks with Letilet, our local Medicine man (the YouTube documentary about him has over 9 million views) to joining our Masai Warrior School experience, or hearing insights and anecdotes during fireside talks from one of our Masai guides as they share about their rich Masai culture.

We have three different stay options in the Masai Mara. The 1920’s Camp, the Bush Villa and the Conservation Camp. We developed the conservation camp because there was a real interest from guests wanting to both have a safari holiday, but also have a more immersive conservation experience. The Conservation camp provides this conservation focus yet is a more basic camp (no electricity and bucket showers) as compared to Cottar’s 1920’s Camp and Bush Villa which are considered luxury stays. All three accommodations have an extensive list of immersive and positive impact driven activities such as a joining the only all-female ranger unit in the Masai Mara, experiencing the rehabilitation of raptors recovering from poisoning, compare Western versus African star-gazing stories of the night sky or participate in our seedball reforestation and carbon offset experience. This should go without saying, but of course we also offer professionally guided game drives and game walks.

One of the honeymoon tents at the Cottar’s 1920s safari camp. Image courtesy of Cottar’s Safari

4. As we emerge from the coronavirus pandemic, do you think travel will ever be the same?

Coming out of the pandemic, I believe that there will be increasing demand for travel that is individually curated, genuinely and positively sustainable and impactful and are away from the maddening crowds.

5. What’s been your most memorable safari experience and why?

Safaris provide difficult-to-describe, sensory-stretching experiences. My most memorable safari experience was watching the emotions of a deaf teenage guest who felt the auditory and powerful vibrations of a lion who roared close to one of our open game vehicles.

6. Are there any developments or new openings in the pipeline?

We continue to develop our positive impact experiences that are fun, immersive and support conservation, community and culture. We are also planning to expand our safari accommodation in order to secure additional critical wildlife corridors in community owned areas of the Masai Mara. I hope in future that businesses such as ours are valued by our commercial success and, in terms of the value of critical biodiversity and communities that we support.

Find out more: cottars.com

Manfredi Catella, CEO of COIMA and president of the Riccardo Catella Foundation

Manfredi Catella is the CEO of COIMA, the real estate company behind Porta Nuova in Milan, one of the most important real estate developments in Europe. He is also president of the Riccardo Catella Foundation which aims to promote sustainable and responsible urban development by improving and animating public spaces. Here, Catella discusses transforming urban environments, mixing business with philanthropy and how technology advances sustainability efforts

LUX: The Riccardo Catella Foundation has had an interest in promoting sustainability long before sustainability became a buzzword, how did this come about?
Manfredi Catella: The Riccardo Catella Foundation was established in 2005 in honour of my father, the entrepreneur Riccardo Catella. At the time, not many entities were focused on promoting ESG (Environmental, Social, Governance), or impact indicators in investments, and we felt it could be our contribution to set up a non-profit organisation committed to promoting sustainable territorial development. We also have the ambition to educate communities about the effects of climate change and what actions need to be taken to fight and prevent this phenomenon. We do this through a citizen engagement program of civic-cultural projects within the realm of green and public spaces in the city of Milan. We believe it is important to listen to citizens in order to understand their vision for the urban space surrounding their homes and integrate programs and services that can improve their quality of daily life.

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LUX: What is the most exciting philanthropic project you are currently working on and why?
Manfredi Catella: At the moment, the philanthropic project where we are dedicating a lot of our energy to is The Riccardo Catella Foundation’s management of Milan’s third largest park, BAM (Biblioteca degli Alberi Milano), which we undertook together with COIMA on behalf of the Municipality of Milan. It is the first public private partnership in Italy that allows a private foundation to manage such a vast public and green space in the city centre. The 10 hectares of the botanical garden, which was developed by COIMA as part of its Porta Nuova development, is a ground-breaking project that aims to involve companies, non-profit sector, and citizens (BAMFriends) in the management of a public area. In addition, we animate the park through a cultural program based on four pillars: open-air culture, education, wellness and nature.

BAM (Biblioteca degli Alberi Milano) is Milan’s third largest park, managed by The Riccardo Catella Foundation

Ensuring the safety of the local community in the outside spaces has been particularly important since the start of the pandemic. We have been increasing services to enable greater green mobility over the past year. The changes are visible to park visitors. In outdoor areas, new bike racks have been set up, with information on anti Covid-19 measures, sanitising gel dispensers and continuous sanitisation services for floors, children’s playgrounds and communal areas. Safety is the starting point for a series of inclusive initiatives such as Wi-Fi enhancement and the launch of the Porta Nuova Milano app, which is designed to book events and services in the area.

LUX: Please explain your workings in neighbourhood community management?
Manfredi Catella: COIMA believes that the only way for the built environment to help fight climate change and to promote diversity is to integrate them into the basic economic, social and environmental model of every real estate development and by setting measurable objectives and transparently reporting on those objectives. We believe in placing nature and humans at the centre of all real estate development and urban regeneration schemes. In Porta Nuova, we have created a thriving urban environment that enables constant interaction between nature and architecture. There are walkways, green spaces, and piazzas with spaces created for exercise, relaxation, and socialising, all of which welcomes 10 million people every year. It includes Biblioteca Degli Alberi Milano (BAM), an innovative urban park and botanical garden, which plays host to a diverse programme of cultural events and activities for residents, workers, and visitors alike.

Read more: Michelin-starred high altitude dining in Andermatt

LUX: Why do you think it is important to mix business with philanthropy?
Manfredi Catella: In general, the corporate approach to philanthropy has really evolved, and over the last ten years in particular, there has been a shift towards a model of collaboration and sustainable, long-term initiatives. It is important to mix business with philanthropy because corporations have a highly influential role on the social and natural world in which we live. It is also important as sustainable business models have a strong track record of delivering superior returns. Corporate philanthropy is no longer about simply giving money and walking away. By using the skills, tools, and approach of our business, we can continuously monitor the impact of our work and ensure it is having the best possible outcome for those who need it.

The pandemic has highlighted the fragile nature of our world and we believe that business has a duty to create positive change and a sustainable future as we recovery economically from Covid. This led us to establish the COIMA ESG City Impact Fund in 2020; an investment fund focused on sustainable urban regeneration. We aim to use this fund to redesign new physical and social models for housing, tourism and urban regeneration of neighbourhoods and believe that sustainable real estate can play a central role in a post Covid recovery. As responsible managers of institutional capitol from all over the world, we believe can help shape the future.

Bosco Verticale was designed by Boeri Studio, and built and managed by COIMA as part of the  Porta Nuova development

LUX: Apart from sustainability projects, are there any other philanthropic causes you have a particular interest in?
Manfredi Catella: Since 2018, we have been promoting an important social inclusion project through the Riccardo Catella Foundation, together with the Dynamo Camp association, called the Porta Nuova Smart Camp. It is an inclusive and innovative project for children both with and without serious pathologies and disabilities. Nature, sustainable architecture, and technological innovation are topics at the centre of the camp’s activities, along with incorporating the values of the Foundation and the community of COIMA’s Porta Nuova development.

LUX: How has working closely with local communities over the last 10 years changed your outlook on real estate development?
Manfredi Catella: We are recognised as a sustainable real estate company because it has long been our goal to create projects with a strong positive social and environmental impact on its community. The past year has reaffirmed that we all need to continue conducting our business and investing in a responsible way. The past ten years has taught us that it is essential to always look at the bigger picture. For us, this means that we look at a neighbourhood scale instead of a single building. By doing this, we can effectively redevelop urban spaces and provide a selection of amenities to better serve a variety of city users. For example, the COIMA ESG City Impact Fund has just acquired the railway yard of Porta Romana in Milan, together with Covivio and Prada, and we are very excited about exploring this neighbourhood scale development.

Read more: Alia Al-Senussi on art as a catalyst for change

Through our passion and experience, we have also developed our own sustainable vision called COIMA Roots which focuses on driving sustainable, economic, and social performance across our developments. COIMA Roots has been created in line with our belief that humans and nature should sit at the heart of all urban regeneration and development. To accomplish this, our set of values, or roots, are nature, beauty, affordability, human, happiness, ethics, service, and knowledge.

LUX: What were your principal goals when creating the Riccardo Catella Foundation?
Manfredi Catella: When we started the Riccardo Catella Foundation, our goal was to actively support the local economy and to promote the culture of sustainability and innovation in territorial development. We also wanted to make sure we were improving the quality of urban life and public green spaces through the foundation’s cultural projects. I feel that the challenge to create a place of nature, inclusion and growth in the heart of the city at the BAM park will be one of our challenges over the coming years. We are working to create a park that engages the community through a rich cultural programme inspired by sustainability but at the same time would like to create a sustainable business model that could be replicable for other parks in other cities around the world.

A street art project at BAM in Milan

LUX: The Riccardo Catella Foundation has been around for almost 15 years. What has been the most significant change in sustainability during this time?
Manfredi Catella: Two main drivers: awareness and technology. When we began the foundation, sustainability and climate change was not a common topic as it is today. In recent years, we have witnessed a major shift and an increased awareness and now all players, from the public administrations to corporate to citizens, are recognising the need for urgent concrete action. Also, today, we have technological solutions that before were not available and it is fundamental to stay at the forefront of these technologies to continue to push the bar in integrating these solutions in development.

LUX: Which regeneration projects by others have particularly impressed or even inspired your philanthropic efforts?
Manfredi Catella: When we began working on the proposal for the management of BAM, we visited many parks around the world, including The High Line in New York and Millennium Park in Chicago. Then we worked on creating our own interpretation that would integrate well into the city of Milan.

LUX: Is there a major difference in approach between European, Asian and American organisations involved in philanthropic urban regeneration programmes?
Manfredi Catella: Across Europe, philanthropic engagement is an integral part of corporate social responsibility and reinforces related strategies. More and more companies of all sizes are dedicating financial resources, products, knowledge, and time to the common good. The world of philanthropy is renewing itself and dated foundations are starting to make way for a new approach to charity that incorporates social purpose and sustainability through impact investing. We believe that impact investing will become mainstream and that the positive environmental and social contribution will be integrated into traditional investments. We are dedicated and are working actively in that direction.

Find out more: coima.com

The Castello Banfi wine resort. Photograph by I. Franchini.

Staying at two wine estates at opposite ends of the region, LUX experiences fine wines, history, cuisine and the spiritual tranquillity that only Tuscany can offer. First up is Castello Banfi Il Borgo, a wine estate and historic hilltop hamlet transformed into a luxury hotel

Where

On a hilltop in the far south of Tuscany, above a broad sweep of valley and plains, with the massive, looming forested ancient Etruscan volcano of Monte Amiata in the far distance.

The arrival

You know you’re in wine country when you drive to Castello Banfi. The land for miles in every direction is covered with vineyards; a smooth, quiet road leads to the estate from the main road connecting Montalcino, on its hilltop to the north, with Sant’Angelo Scalo in the flat valley below. Banfi is not just a wine estate, it is a hamlet, all converted into a luxury hotel (il Borgo), wine estate and celebrated restaurant. There is even a museum of glass bottles. The feeling is that you have arrived at a very exclusive destination, but a working one, with the vines all around making some of the most famous wines of Tuscany. The ‘hotel’ is the cluster of buildings down the single cobbled road of the hamlet, which have been artfully and expensively restored.

The restored hilltop fortress (above) with its rose garden

The views

The place to be here is the pool, which looks out to the south, over vineyards, agricultural land, and plains, over to forested hills in the far distance, many miles away, beyond which are the beaches of the Maremma. At night, you can sit on the grass by the pool and try and guess how far away each point of light in the blackness of the land is: 10km? 20km? In contrast to northern Tuscany, the views here are vast, unending, almost unsettling in their scale. Or is the best view from the bedrooms, which look out over a terrace and to the Monte Amiata volcano in the distance to the east? You are spoiled for choice with different vistas here.

The swimming pool with views over the vineyards. Photograph by Darius Sanai

The rooms

The old hamlet’s rooms have been cleverly repurposed into a luxury setting, with beautifully treated woods, marble and fabrics. They are less about light and more about texture, although throwing a window open always reveals a dramatic sight of vineyard and horizon.

Read more: Why Maslina Resort, Hvar makes the perfect summer destination

One of the suites at the Hotel Il Borgo

Wining and dining

Banfi is known to connoisseurs around the world as one of the most significant producers of Tuscan wines. We were given the rare pleasure of a tasting personally overseen by the estate’s director Enrico Viglierchio. The Poggio alle Mura, one of the prestige cuvées of Banfi, is made from a blend of some of the best vineyard sites in the area, many of which you drive through as you approach the estate. Deep, powerful and rich, it’s a Brunello di Montalcino for those who love their wines to resonate. Meanwhile the range-topping Poggio all’Oro is elegant, almost delicate, its older vintages having a complexity of earthy layers, a connoisseur’s wine. You can choose from those and many more at the Sala dei Grappoli fine dining restaurant, in a medieval courtyard, which serves elaborate, intricate, complex cuisine like total black crisp egg, pallone di gravina cheese foam, avocado and Cinta Senese pork dust (and that’s just a starter). There’s also La Taverna for more relaxed, hearty Tuscan dining indoors.

The Taverna restaurant

The highlight

Apart from the wines, it’s the architecture of this intimate private village, and the way you and the other guests (never many of them) feel that you have a whole, perfectly tended, luxury hilltop community and all its astonishing sightlines to yourselves.

LUX rating: 9/10

Book your stay: castellobanfiwineresort.it

This article originally appeared in the Summer 2021 issue.

The Mercedes-AMG GT 4-Door Coupé transforms a sports car into a high-performance saloon

In the second part of our Fast & Luxurious car series from the Summer 2021 issue, LUX’s car reviewer takes the Mercedes-AMG GT 4-Door Coupé for a test drive around England’s country lanes

Fast, four-door saloon cars used to be among the most exciting things on the road, believe it or not. In the 1980s, BMW produced its first M5, with the racing engine from its M1 supercar. At the time, it was a car that had it all, speed to match the Ferrari of the day, but comfort and reliability and space as well.

A tuning company in Germany called AMG started doing similar things to solid, dull, respectable, comfortable Mercedes cars of the time. They took one and made it something called the Hammer, which became a legend, so rare and desirable that it is now an expensive classic car.

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Since then, technological advances have made this category swell to the point of mundanity. A Tesla is now as fast as a Ferrari, without claiming to be ‘sporting’ in any way – in fact the whole concept of what constitutes a sports car is being eroded, but that’s a different matter.

Every prestige manufacturer now produces a very fast car that can fit the whole family and its Irish wolfhound, and generally these machines are astonishingly capable and often astonishingly unremarkable to drive.

As a consequence, we approached the AMG GT 4-Door (yes, that’s its name) with mixed feelings. AMG was purchased and absorbed into Mercedes 20 years ago. Within this range from this single manufacturer alone, there are more than 20 cars which can easily go faster than you could possibly imagine going, unless you have a private race track or autobahn at your disposal.

Meanwhile, the AMG GT, the two-door sports car on which this big saloon is based, is very rapid, and exciting on the right day, but a bit uni-dimensional. It wants to be loud and go fast. All. The. Time.

How would that translate into a four-door, four-seater car whose raison d’être is to be versatile? And aren’t there enough fast, spacious AMGs already?

Read more: LUX’s Editor-in-Chief Darius Sanai on media

Press the start button and – ROWWF. This is a big car with a big heart, its turbocharged V8 very much telling you it is there. It doesn’t take long to work out what kind of car this is. The steering is direct and responsive and has a little bit of feedback – rare in these years of electrically assisted steering. Mercedes does an excellent job in this area, best of any of its direct rivals. Which makes it a very satisfying car to drive, even at low speeds.

On the open highway, the car settles into a comfortable cruise, rumble from the engine telling you that it wants to play, but it is neither restless nor intrusive. The ride is comfortable. The interior is sculpted, luxurious and highly digital. It feels like taking a big but friendly dog out for a walk – straining at its leash a little but well trained.

The big surprise, though, comes when hurling this big, super-powerful car down a country lane. It feels neither big nor heavy, instead as eager as a large puppy.

It burns down straights and lollops around corners delightedly, always enthusiastic, highly capable, and highly enjoyable. It feels faster than any of the other hyper-saloon cars on sale, although there is no way anyone would be able to feel that different on a public road, apart from in a couple of instances over a couple of seconds each time. But most importantly, it feels fun, in an almost old-fashioned way. It is not clinical, like so many cars.

Interestingly, this does not come with any significant compromises. The seats are the best we have tried in any saloon car. It may not be as quiet as some cars, but it is far more relaxing to drive than its two-door sibling.

It’s only real drawback is that it is priced at a higher category to cars like the current BMW M5. That is completely justified, for its combination of even higher performance, more comfort and sophistication. But at that price level, you are into the world of even more prestigious brands, where a name counts for as much as anything else in the ownership experience. So while this is probably the best big super-saloon car ever made we are not sure whether it will find a big market. It deserves to.

LUX rating: 19/20

Find out more: mercedes-amg.com

This article was originally published in the Summer 2021 issue.

The main cover of our Summer 2021 issue, with a portrait of, and logo takeover by Rashid Johnson

Our Editor-in-Chief on the role of media and convergence in sustainability and luxury, from the editor’s letter in the summer 2021 issue

Darius Sanai

A curious thing happened to the media during the first lockdown last year. The media became everything, and nothing.

If you are struggling to make sense of that, consider this. For much of the period when we were forbidden from travelling or engaging in normal everyday activities, would wake up, flip onto WhatsApp and Instagram, login to Zoom and Teams, perhaps while checking out a YouTube video or TikTok feed on another device. In the evenings we might travel somewhere on Amazon Prime or YouTube, listen to stuff on Spotify, play League of Legends, search for a watch or a dress on Watchfinder or Net-a-Porter, or be entertained on Netflix or Apple. We would also use a podcast app to inform and entertain ourselves, maybe while Alexa or Siri read us the headlines from The New York Times.

All of that is ‘media’, which begs the question, what isn’t media?

Twenty years ago, I remember being asked, as a media correspondent for a newspaper, to write and give talks on the then new phenomenon of ‘convergence’, whereby previously completely disparate strands of human existence were starting to overlap and merge into each other. Convergence has now not just happened, but done a kind of backflip on itself. Witness the new armies of ‘creators’, who were once people with social media accounts, but are now investable business platforms leading reverse takeovers of the product lines and sectors they promote, from beauty to entertainment. They are also media, as is Ryan, who earns exclamation dollars a year opening toys on YouTube; and what is a non-fungible art token except the ultimate form of personalised, monetised media?

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All of this has left some of the traditional media in a head spin. Which tail is wagging which dog when a magazine employs a writer who then becomes an advocate for a brand she has written about, and creates a following and business worth more than the magazine that employs her?

Our partner cover for Gaggenau

In a sense, nothing has changed except the players. In this new global ecosystem, ‘media’ refers to curation above anything else – just as it did when Diana Vreeland edited Vogue. An influencer curates brands and looks; a TikToker curates social memes; a Washington Post editor curates the hierarchy and interpretation of what is happening in the world.

Far from being a constraint to traditional media, it is or should be an opportunity. We used to be expert intermediaries, reporting on aspects of the world (news, analysis, business, art) to our audiences. Now, as well as curating, we create: bring to life experiences and ecosystems. We make things happen. We also leverage our existing ecosystems in new directions.

Read more: Sophie Neuendorf on why tokenisation is the art world’s new frontier

LUX readers were previously defined simply by their demographic. But with wealth comes responsibility, increasingly so in this era, and we are both being inspired by and inspiring our readers, partners and ecosystem to not only help create a better life for our readers, but help them do what they would like to do and adjust the direction of elements of the world for the better. Media has a responsibility to lead.

The summer issue contains a 16-page section in partnership with Deutsche Bank, on sustainability and biodiversity

That is why you will see our 16-page supplement, together with our partner Deutsche Bank, on biodiversity and the blue economy. It is why we have launched our new series on philanthropy online, and given it a manifestation in this issue. Why we are partnering with brands and institutions to create events as diverse as a prize for sustainable art, and a forum for biodiversity. When I interviewed Brunello Cucinelli, our conversation was about the moral duty of those who can help to do so; we barely spoke about the sublime cashmere he makes. Responsible culture has long been our tag line; it is also our call to action.

I hope you enjoy this issue and everything else we do – keep updated at lux-mag.com and on our Instagram.

Read more from our Summer 2021 issue:

A seafront villa at the Ritz-Carlton residences in Bodrum, Turkey

The concept of the branded residence was born in New York in 1927 when The Sherry Netherland Hotel began offering privately owned apartments overlooking Central Park. Since then, almost all major hotel groups have jumped on the trend, launching collections of luxurious, fully-serviced apartments and villas across the globe. Here, Dana Jacobsohn, the Senior Vice President of Residential Development at Marriott International discusses consumer trends, the impact of the pandemic, and the launch of the world’s largest branded residential complex to date

Dana Jacobsohn

1.Why do think branded residences have become more popular in recent years?

The comfort of buying into globally trusted brands like The Ritz-Carlton and St. Regis is becoming even more important to buyers as it ensures the very best in services around the globe. All members of our dedicated residential staff go through over 150 hours of training annually and I think that level of service really appeals to buyers, especially during these unsure times.

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2. Has the pandemic brought about any changes in your sector of the real-estate industry?

Our branded residences business has been resilient, and we have seen strong consumer confidence despite uncertainty caused by the pandemic. The live, work and play phenomenon is a trend that we are seeing across our properties. Vacation homes are now becoming places where people stay for longer periods of time. Many of our residents are working from their homes, so they want to have offices and workstations that seamlessly fit into their lifestyle. We expect to see more vacation homes to become a primary place of residence in the future.

3. How do you engage your owners?

Our teams of dedicated residential staff often become like extended family to our residents. Staff members quickly become familiar with owners’ preferences, their pets, and family, so there’s a very deep level of personal engagement within the communities.

Often in our residences, we’ll have an owner’s lounge, and a place where, say, a celebrity chef comes and does a cooking instruction. However, due to the pandemic, we’ve had to get even more creative with our programming and how we engage with owners. For example, at The Ritz-Carlton Residences, Los Angeles,  the staff delivered food to residents during the pandemic, and we organised a cooking class via Zoom.

A render of the living space inside a St. Regis branded beachfront villa

4. Where have you seen the most growth in recent years?

While the majority of our branded residential portfolio is in North America, more than 75% of our pipeline projects are outside the US. We are seeing strong interest from markets in Asia and the Middle East.

Read more: Professor Peter Newell on why the wealthy need to act on climate change

5. What is the most common demand from buyers?

With over 100 locations across the globe, Marriott International’s branded residences portfolio offers something for everyone from beach-front resort-style properties to ski chalets in the mountains or homes that are within walking distance to restaurants in a bustling city. Our buyers’ lifestyle preferences vary, but the common thread is that they all want beautiful design, and trusted services. I think those will always be most important elements to a buyer, regardless of the location.

6. Can you tell us about latest project in Ho Chi Minh City, Vietnam?

We were thrilled to announce this dual-branded project, The JW Marriott Residences and Marriott Residences, Grand Marina, Saigon earlier this year. Located in the heart of Ho Chi Minh City, the project marks the largest branded residential project in the world and is anticipated to include close to 4,200 residential and office units. Each private retreat will offer access to an array of high-quality hotel-like amenities and on-demand services for residents.

Find out more: marriottresidences.com

Maslina Resort sits within a former olive grove on the edge of Maslinica bay. Photograph by James Houston

Why should I go now?

For endless blue skies, crystal clear water, and the slow, seductive pace of island living. Croatia remains one of the most popular and reliable summer destinations in Europe, and thanks to the sheer number of islands (there are over a thousand), there are still a handful of unspoiled spots to be found.

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While Hvar town might be bring to mind superyachts and glitzy parties, the island itself is rugged and wild with dense pine forests, remote fishing villages, and a rich, layered history. Maslina Resort opened quietly in 2020, mid-pandemic, and offers a wholesome, earthy kind of luxury.

First Impressions

The colours are the first thing you notice: the vivid blue and white spray of the Adriatic sea as the speed boat curves around the base of Hvar island and into Maslinica Bay. From a distance, the wooden-clad buildings of Maslina Resort are barely distinguishable amidst the earthy green of the olive and Aleppo pine trees, but inside is everything is bright, open, and bare with smooth, cream walls, terracotta-tiled floors, and white floaty curtains, which divide the reception, library and a sunken lounge. Each space is filled with beautiful objects and eclectic furnishings, including a spectacular 12-ton rock from the island of Brač which serves as the reception desk.

It has the feel of a fashionable, much-loved pied-à-terre, which in a way, it is: the owners are French financiers who fell in love with the raw beauty of the island and purchased the land to build their own little hideaway.

The public spaces are open-plan, creating a sense of light and space. Photograph by James Houston

The Experience

Guests spend their days padding around barefoot in their swimsuits, wandering between the restaurant, poolside, spa and the sea. Bedrooms are divided between six-interconnected pavilions; some have their own private plunge pools or gardens, but for the best sea views, check into a panoramic suite. There are also three spacious seafront villas for groups of friends or families.

The view over the bay from the balcony of a top floor bedroom. Photograph by James Houston

There’s a strong focus on holistic living that connects with the local culture and landscape. Spa treatments involve botanical oils, scrubs and baths, and for those checking in for longer stays, there are wellness programmes designed for stress-relief and detoxification. One of our favourite experiences was guided meditation under the shade of a tree in the organic garden, which sits just behind the beach, providing a soothing soundtrack of rolling waves.

Read more: Professor Peter Newell on why the wealthy need to act on climate change

The main restaurant makes the most of the home-grown seasonal produce, pairing Mediterranean flavours with Japanese cooking techniques (think herby salads, fresh fish, flat breads, and olive oil), while the beach bar (open from 5pm onwards) offers a more causal menu of tapas and seafood dishes.

The indoor dining room at the main restaurant. Photograph by James Houston

As the staff come mainly from the surrounding communities, they have an expansive knowledge of island’s sites, histories and customs. We spent a wonderful afternoon with one of resort’s expert guides,  who took us on a tour of the ancient town of Stari Grad followed by wine-tasting in a beautiful, candlelit cellar, and dinner at a konoba-style restaurant, perched high up on the hillside. 

Takeaway

Unlike a lot of luxury island resorts, Maslina feels genuinely rooted in its surroundings, which has less to do with its architecture, and more to do with the people and natural landscape. The atmosphere is laid-back and unpretentious; you feel at home, almost instantly.

Rates: From €300 per night, including breakfast (approx. £250 / $350)

Book your stay: maslinaresort.com