A luxury hotel pool as imagined by DALL-E, an AI image generator

LUX Editor-in-Chief Darius Sanai stays at many of the world’s greatest hotels every year. He is a long-term admirer of, and advisor to, a number of them, and reviews them for our print magazine’s Luxury Travel Views section and here online. As the year draws to a close with his 30th luxury hotel stay, he offers some advice on what not to do, which every top hotelier should already know

A luxury hotel should never…

1. Ask us how we slept

We may not have slept because we had jet lag, or we were working, or we had chronic back pain, or our girlfriend rang at 2 am and asked who we were with, or we were anxious or depressed, or we were having a party with some Latvian hookers. Or we may have slept fine. All of these happen a lot in luxury hotels. Either way, these are personal things and a good hotelier will know there is only one answer anyone can give, which is an awkward “Yes”. Don’t create awkwardness. Conversely, if we slept badly through some fault of yours, like a noisy air con unit, we will tell you without being asked.

An AI generated image of a hotel room with stunning views onto an imaginary metropolis

2. Serve an a la carte only breakfast

We know exactly why you do this. For a big four star hotel, food wastage from a buffet is cheaper than the staff needed to manage and serve everyone a la carte. For a luxury hotel (usually smaller), you can manage costs by having an a la carte only. One luxury hotel in Paris served me a basket of viennoisseries (cheap, and which I don’t eat), a filter coffee and a derisory slice of supermarket toast with two small tomatoes on it, for more than €40. Bite the bullet, create an excellent buffet, include it in your rates. (We may make an exception for very small luxury hotels, 20 rooms or less, but you had better serve a hell of an a la carte menu.)

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Oh, and absolutely no branded packets of cereal on show, ever. You don’t serve cans of Coke in your restaurant, so don’t serve packs of Coco Pops either. If you must have mass manufactured cereals, rather than making your own or buying from better, smaller, organic brands, serve them out; but better still, terminate the Kelloggs pipeline and serve proper cereals, a marginal cost increase – but when did anyone tell you running a luxury hotel would be cheap?

Exceptions are allowed for island resort and other remote locations where raw ingredients are hard to come by: but oats, nuts and seeds for your own cereal are pretty universal. You may have a Michelin-starred restaurant, so why serve breakfast cereal that’s sold in every supermarket chain?

A luxury hotel buffet breakfast as conceived of by OpenArt AI

3. Leave bathroom flyers asking primly if you don’t want your towels or linen cleaned for environmental reasons

These abominations first popped up in the 1990s, little signs saying ‘oh, do you know how much energy and water is wasted by washing linen and towels?’ We do know that, and we know that if you wanted to start a business that was carbon- and planet-positive, you wouldn’t start a hotel. Hotels, and travel, are inherently damaging to the planet. So you could leave out signs telling your guests not to travel anywhere, but that would be self-destructive, so don’t disguise a cost-saving as your own worthiness.

Do something environmental that requires investment  – reverse osmosis, heat pumps, banning plastic packaging, reusable crates for your suppliers- and shout about that instead. And wash my towels.

A luxury hotel bedroom generated by OpenArt AI

4. Over digitise your media and in-room collateral

Even as magazine and newspaper people, we get it. Many people, particularly from particular places or generations, don’t read print anymore. But many do. So, the logical thing for a luxury hotel is to offer every guest, on checking in, a choice of newspaper to be delivered to their room. If they decline, you don’t need to put the order in for the next day.

With magazines, do not begin to believe an abominable “e-reader” is an alternative to an actual magazine. Nobody uses “e-readers” and we don’t design magazines to be read by them. So place a fine quality publication, like Conde Nast Traveller or LUX, in each room, alongside your own (your own magazine is an important communication and amplification and clientelling tool – do it well).

If your CRM system is up to it (and it should be) find out the preferences of your top tier repeat guests so they have their copy of Fly Fishing Monthly or Auto Motor und Sport waiting in their room; a true way to surprise and delight at less than half the cost of a bottle of champagne. You will need to have a staff member coordinating this, but you can use all the staff hours you free up from not serving an a la carte breakfast.

Read more: A historic tasting of Masseto wines

Meanwhile, if we want room service or to know what the hotel restaurants serve, we like picking up a nicely designed, clean folder and looking through a non-tatty selection of pages dedicated to the topics. We don’t like having to find a remote control, fiddle with it to get rid of the “Welcome” message, mistakenly click on to the in-house movie of a couple with very white teeth in the spa, get rid of that, find the “Services” menu, tap down to reach “Room Service”, mistakenly tap the wrong way and get the couple in the spa again, tap back to room service, tap along to the appetisers sub-menu…luxury is supposed to be about pleasure.

And just stop using QR codes for your room service menu. We have arrived at your luxury hotel for relaxation and escape. We don’t want to be picking up the same tool we have been using for sending emails during our 12 hour journey, and squint at a menu that doesn’t fit on a phone screen. Make the investment in proper printed collateral.

A luxury hotel infinity pool looking over an imaginary megacity created by AI OpenArt

5. Forget who we are

We understand, just about, if we return to the hotel in the evening and receptionist on evening shift that we haven’t met doesn’t instantly recognise our face from the 200 other guests that day. But, if we have had an issue – window not sealing, tap broken, car didn’t turn up, whatever, issues do happen – and we report back to the evening shift, and identify ourselves, we expect the first person we speak to to a) know all about the problem and b) know what is being done to fix it. If we have to explain who we are and what happened, more than once, there is no luxury in being treated like a repeat caller to a call centre.

And if any of your front desk staff meet us and forget who we are subsequently… that’s not hospitality.

A high-ceilinged, grand hotel foyer generated by OpenArt AI

6. Take up our time with wifi

It’s minor, but irritating enough to black mark an arrival experience. We try and log in to wifi and are redirected to Swisscom – its always Swisscom – and we need to scroll down a list of country codes, enter our number, receive a code, and tap that in. Firstly, a third party data capturing your guests is not cool. Secondly, make the effort to install your own wifi, take responsibility for it and have a simple hookup. One-tap hookup is best, entering room number and name is acceptable. Nothing else.

I have been careful not to name any specific perpetrators of the above crimes against luxury above, but I am going to single out one group for praise. Peninsula hotels have their own, very clearly designed tablets with idiot-proof navigation on which you can make all your in-room dining, lighting, curtain and other choices. No need for a physical folder there, but Peninsula also value print, with several magazines of their own in the rooms, and a proper writing desk and pad. Pure class; and, as a disclaimer, I have paid for my own room every time I have stayed at a Peninsula, so no bias here. Others take note.

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A portrait of Jennifer Shorto, a textile and wallpaper designer who is inspired by antique textiles from across the world

Jennifer Shorto, textile and wallpaper creator for the famous and discerning around the world, chooses six pieces for the season from the quirkily magnificent collections of London-based jeweller Cora Sheibani

Follow LUX on Instagram: @luxthemagazine

1. Decorated Gugelhupf ring

Platinum with ebony, diamond, ruby and blue sapphire: there are only bold rings for me – ebony with gems shifts attention from my hands to drama. I am fascinated by wood with stones.

2. Transition earrings

Platinum with pink spinel and grey sapphire: these are classical yet unexpected – rigorous in line, playful in pink. They seduce me into wearing earrings again.

Read more: Bentley by LUNAZ review

3. Triple C&C necklace

Citrine and silex jasper, with 18k yellow-gold clasp: citrine is liquid sunshine, its luminous gold complements my skin and clothes, radiating warmth and vibrant energy.

4. Tetris brooch with jabot pin

18k champagne gold with smoky quartz and aquamarine: I love holding dresses and jackets together with brooches. Smoky quartz with aquamarine is a quietly stunning pairing.

Read more: A tasting of Joseph Phelps wines with Maison President David Pearson

5. Sorbet ring

18k rose gold with peach and purple Edison pearls: the colour clash of these gems is delicious – I’m thrilled to see these unusual pearls.

6. B&B earrings

18k yellow gold with Palmeira citrine and orange zircon: flattering and vibrant, they light up the face. Rigour keeps them timeless, never old-fashioned.

All corasheibani.com

jennifershorto.com

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Claudio Laager, photographed by Isabella Sheherazade Sanai

Claudio Laager is the General Manager of the Grand Hotel Kronenhof in Pontresina. A local to the Engadin valley, Laager brings a personal perspective to luxury hospitality, blending tradition with a hands-on approach that connects guests to the natural beauty surrounding the hotel. LUX speaks to him about the unique stay offered at the Kronenhof

LUX: How would you characterise the Kronenhof and Pontresina compared to the Kulm and St Moritz?

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Claudio Laager: Whereas St. Moritz attracts the international, lifestyle-focused set, Pontresina is a more typically Swiss holiday destination. People come here because of the beautiful nature and the original charm of the village. In St. Moritz you can buy luxury handbags in almost every store. Here in Pontresina, people are perfectly happy with the sports shops selling hiking and cross-country skiing equipment.

A view of the Grand Hotel Kronenhof from the surrounding snowy alps

LUX: What changes have you brought in under your management?

CL: When I took over the management in 2023, I decided to get closer to the guests and help them discover the beautiful landscape surrounding the Grand Hotel Kronenhof.

Read more: Umberta Beretta on the artists and philanthropists of Venice

As a local who grew up here, I know the best spots, and I regularly take guests out on excursions. Every Friday at dusk, for example, I take guests to the Val Bever for wildlife watching. It’s a different, authentic way to experience the Engadin valley.

LUX: Is summer in the Alps becoming more appealing for more people?

Hotel Kronenhof’s neo-Baroque Grand Restaurant, dating back to 1872

CL: Yes, summer in the Alps has so many advantages, not least the very mild, comfortable temperatures, especially compared to southern Europe at that time of year. It’s never crowded and wonderfully relaxed. Autumn is also a personal favourite of mine. During foliage season the forest takes on a golden glow and it’s quite something. We are one of the only five-star properties in the area to stay open in autumn, and we’re seeing more and more bookings and returning guests who have discovered the special allure of this time of year.

LUX: There are lots of luxury chain hotels opening now in the Alps. How is the Kronenhof able to compete?

CL: Well, I’m pretty sure it comes down to the uniqueness of the place itself, one of the oldest and most beautiful “Belle Époque” structures in the Alps, in a perfect location with breathtaking mountain views. That’s very hard to replicate. And then there’s the service element too. We strive for excellence, but we also look for personality in our staff. There has to be room for individuality.

A view of the alps from the lobby lounge

LUX: Is discreet luxury going to be lost with the rise of the social media generation?

CL: Not really. We’re actually seeing quite the opposite here. Guests come to disconnect and rediscover more analogue pleasures. For example, once guests are in-house, we prefer to communicate through handwritten notes. It’s a small detail, but it’s becoming an increasingly rare one.

Read more: Bentley by LUNAZ review

LUX: What is your exact favourite moment of the day, week, month and year to have a drink in your bar and what would you drink?

CL: My daily schedule doesn’t often allow me to wind down at work and have a drink. On my day off I usually enjoy simple beer or a good red wine.

kronenhof.com

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A portrait of Umberta Beretta – philanthropist, art collector and LUX Contributing Editor – in situ

Philanthropist, collector and LUX Contributing Editor Umberta Gnutti Beretta is one of the leading lights of the Italian contemporary cultural scene.  As the 2026 Biennale takes off, the guest editor of our Venice Biennale Special section, who has a must-see private art space at her family’s factory in Brescia, shares her thoughts on contemporary artists she admires who have studied and created in Venice.

She also nominates four luminaries in the city’s cultural scene, who in turn share their thoughts on their creative and collecting practices, and on the latest artistic transformation of La Serenissima

Venice is historically the home of the events within the contemporary art ecosystem. Although the exhibition takes place every two years, the reasons that position Venice as a central hub for artists extend far beyond this recurring occasion.

Follow LUX on Instagram: @luxthemagazine

The city welcomes artists not only as visitors or privileged observers, but also as students and researchers. The Accademia di Belle Arti di Venezia has long represented a fundamental educational context for many contemporary artistic practices. Among the artists who have developed a significant part of their trajectory there and who I admire are Giulia Andreani, Iva Lulashi and Marta Spagnoli, just to name a few.

Back to Earth, 2024, by Anastasiya Parvanova

For some, Venice does not remain a temporary experience, it becomes an existential and professional choice, a place in which to live and create.

Within this context, a visit to the walk-up studio of Giorgio Andreotta Calò, a native of Venice, is a key to understanding the profound relationship between artistic practice, urban space and the lagoon environment. Giorgio Andreotta Calò has spent time in Berlin and Amsterdam, but his studio remains in Venice.

Another Venice native is Chiara Enzo, a young painter who brings into her painting the dampness and the dim light of her city. Trained, like many others, in the classrooms of the Accademia di Belle Arti di Venezia, she has the ability to enchant you with her small canvases.

She was invited by curator Cecilia Alemani to take part in the Biennale The Milk of Dreams in 2022, and it was precisely there that I noticed her. I have not yet walked through her studio, but it sits firmly on my wish list: a room I do not yet know, and that I cannot wait to discover.

Calipso (Summer Solar Power), 2021, by Thomas Braida

And then there is Thomas Braida. He lives and works in Venice but was born in Gorizia, a borderland between Italy and Slovenia. He carries with him that silent geography. Extremely reserved in speech (he weighs his words), on canvas he opens up without restraint and his gesture becomes his narrative.

Anastasiya Parvanova comes from Bulgaria, where she studied visual arts and pedagogy. Venice welcomed her later, and she stayed.

Read more: Bentley by LUNAZ review

She paints spaces that do not exist, marginal presences, subjects that usually escape the eye, dreamlike universes. In her work, the invisible finds form. Just some of the fantastic painters to be discovered through the narrow calles of this magnificent city.

umbertagnuttiberetta.com

Adele Re Rebaudengo, President of the Venice Gardens Foundation

Adele Re Rebaudengo – President, Venice Gardens Foundation

The foundation of Adele Re Rebaudengo has restored both the Royal Gardens of Venice and the Convent Garden of the Most Holy Redeemer, with both open to the public

In 2010, I moved to Venice to devote myself gardens. In 2014, I co-founded the Venice Gardens Foundation to restore gardens in difficulty, bringing them back to their beauty.

The restored gardens of the Capuchin friars of the Church of the Most Holy Redeemer, Guidecca

This is not only to protect the city’s landscape, botanical and architectural heritage, but to affirm the fundamental role that gardens play in a community. Seeing gardens cared for by the Foundation now used again with joy and love fuels my commitment. As living beings, gardens should not be neglected, but accompanied along their path of growth with care and attention.

Read more: A tasting of Joseph Phelps wines with Maison President David Pearson

Italy is known for the art of gardening, a body of knowledge that combines aesthetics, culture and a passionate understanding of nature. It is a heritage of contemporary relevance, telling the story of the symbiotic relationship between ourselves and the landscape.

The restored Royal Gardens of Venice, adjacent to San Marco

Being heirs to this history brings a responsibility to preserve, expand and pass it on. Gardens are more than ornamental spaces: they unfold horizons – of life, memory and relationships, giving communities a greater opportunity for wellbeing than any other space.

In Venice, there are many gardens to rediscover, sheltered behind high walls, concealed within ancient palace courtyards or scattered among the narrow streets. They represent a precious presence for the city and help ensure its balance and harmony, but many require conservation work to continue to occupy their central place in the Venetian urban fabric. No community exists without a space to inhabit, because it is itself a dimension, a place; by restoring green areas, we give it the opportunity to take root. Even if gardens do not seem functional, they are essential.

venicegardensfoundation.org

Petra de Castro with Vladimir Kartashov in his Pietrasanta atelier

Petra de Castro – Patron, collector and writer

Among her current projects, Petra de Castro has a new book and is supporting Vladimir Kartashov’s installation “Sequences of Time” at San Clemente, Venice, during the Biennale

Each time I ask myself where my passion for literature, art and music comes from, the images that come to my mind are those when, aged seven or eight, I would spend twilight afternoons at the home of a very old couple, who had lost their newborn baby during the Second World War and had “adopted” me as a kind of granddaughter.

It was this couple who taught me that music must be listened to attentively, who would sit me by their gramophone to listen to Mozart and who took me to the opera to see Madama Butterfly.

Petra de Castro’s home with works by Jean-Marie Appriou and a ceiling painting by Kartashov (represented by Gowen, Geneva, since 2025)

They had me read the stories of Tolstoy out loud, and look at the paintings of Cézanne, Monet and Renoir, tell them what I saw in the paintings and then copy them.

Those days of a faraway past made me understand that the universe of literature, art, music and the humanities corresponded to my own emotional understanding. I went on to study French modern literature, German and Philosophy. I did theatre and played the piano.

Read more: Passenger Princess in the Aston Martin DBX S

I worked in dramaturgy at the Schauspielhaus Frankfurt. I did graphic and event design, and window settings for a renowned Swiss watch manufacturer. I wrote a book about Pier Paolo Pasolini’s summer journey of 1959, La Lunga Strada di Sabbia, to be published this September.

From being an art lover I became an art patron and collector, with a vision of a Gesamtkunstwerk of my own in Venice, for my private art collection, Antigone’s Tales, to find a home. The idea of storytelling within the works in my collection is very much interweaved with the history of Venice and with the theme of Vladimir Khartashov’s installation, “Sequences of Time”. This Gesamtkunstwerk will be my life’s achievement and I trust in the process.

Nicoletta Fiorucci – Founder, Nicoletta Fiorucci Foundation

Collector Nicoletta Fiorucci founded her eponymous foundation to promote experimentation in art focusing on radical, interdisciplinary and community-oriented ideas, with a Venice venue opened in 2025

I am drawn to artists who sense shifts in culture, intangible or unresolved. In a moment defined by speed and distraction, art can offer a tempo that encourages reflection instead of consumption. Artists help us rehearse possible futures and the foundation’s aim is to offer a space where artists feel supported to take risks.

The exterior of the Nicoletta Fiorucci Foundation, a former 15th-century palazzo in Dorsoduro

Living in Venice has always been my dream. The city has always been shaped by exchange: of goods, cultures, ideas. That openness feels essential to contemporary artistic dialogue.

Venice also embodies urgency – questions of climate change and preservation are tangible.

Read more: Grand Hotel Kronenhof Pontresina Review

The city demands sensitivity to vulnerability, water, light, material decay, to histories layered over centuries. This rhythm aligns with my desire to create exhibitions that unfold gradually.

The foundation is based in Dorsoduro, which has a quieter rhythm. That intimate scale has shaped the exhibitions. Visitors stay longer, artists feel comfortable inhabiting the space.

To Love and Devour, 2025, by Tolia Astakhishvili, exhibition view of a site-specific installation at the Nicoletta Fiorucci Foundation, curated by Hans Ulrich Obrist

Architecture, light and community become part of the exhibition. The experience feels like entering into a shared moment – that sense of closeness has been a rewarding discovery. I see the foundation’s role as contributing to the city’s ongoing narrative, and to an inclusive, forward-looking cultural environment.

Each project adds a layer to the foundation’s evolving identity. The new exhibition from May to November is by Lydia Ourahmane, curated by Polly Staple. Lydia’s practice often engages with invisible systems that shape everyday life.

Her work carries political depth and emotional subtlety – particularly resonant in Venice. I hope visitors will feel invited to slow down and reflect.

nf.foundation

A portrait of Luca Bombassei, an architect who synthesises the ancient and contemporary

Luca Bombassei – Architect, entrepreneur and collector

The practice and projects of Luca Bombassei operate at the intersection of past and future, exemplified in his recently acquired and restored apartment in the Palazzo Contarini Corfù, which overlooks the Grand Canal

Read more: Hotel Balzac Paris review

I love the past for its belief in knowledge, interested in the future as a space of experimentation, new ways of living, new cultural models. In my work, the two coexist.

A main bedroom view, with art by Alex Katz and Ettore Sottsass

What excites me is what sits between definitions. I’m working on initiatives where architecture becomes a framework for cultural exchange rather than a finished object; projects where the past is not idealised, but questioned and activated. I don’t work with nostalgia but with memory – there’s an important difference.

Collecting art and supporting projects is a way of staying intellectually alive, I’m drawn to works that take risks, which may feel uncomfortable at first, but are grounded in intelligence, craft and intention. My goal is not to build a “collection”, but a constellation of projects, places and relationships that reflect how I think and live. If there is a method it’s to avoid repetition, stay alert and accept that coherence is not a value in itself; what matters more to me is intellectual honesty.

A living-room view of Luca Bombassei’s Venetian apartment, with metal bookcase by Bombassei and painting by Nathlie Provosty

Living in Venice has taught me nothing truly belongs to you. A palazzo is not a trophy, it’s a responsibility. I’ve learnt that beauty is something you practise every day, through care, use and attention. Venice also teaches restraint: knowing when to intervene and when to step back.

The city itself is a lesson in adaptability – it has survived by absorbing change intelligently. Its future lies not in nostalgia, but in cultural work, education and long-term thinking. I believe Venice can be a laboratory for ideas, a place where history and contemporaneity challenge one another. That tension keeps the city, and my work, alive.

lucabombassei.com

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A Little Taste Outside of Love, 2007, by Mickalene Thomas, from the collection of Darius Sanai

Fresh from a blockbusting exhibition in London, New York’s Mickalene Thomas, a former LUX cover star, takes us through her life and loves

LUX: Hi Mickalene, how’s it all going? It’s been a while since you were on our cover.

Mickalene Thomas: Everything is moving – sometimes beautifully, sometimes with challenges, but always forward! I have deep gratitude for the journey. That cover story was special to me. It’s wonderful to reconnect.

Follow LUX on Instagram: @luxthemagazine

LUX: How was your Hayward show?

MT: “All About Love” was my first major global show, but it was also personal. Drawing from bell hooks’ words, I leaned into love as action: how it shapes who we are, who we uplift and the stories we tell. Presenting the work in London, honouring black beauty, femininity and resilience on such a scale was profound. My hope is always that people leave with a sense of love’s transformative, radical power.

LUX: Were the rave reviews important to you?

Read more: Bentley by LUNAZ review

MT: I’m grateful, but I’m most driven by making work to be seen, to be part of culture, to shift the conversation. I think it’s important not to lose sight of your purpose by listening too closely to critics. I believe I must focus on impact, rather than acclaim, if I want to shift narratives for present and future generations.

LUX: Your work Le Dejeuner sur l’herbe: Les trois femmes noires was the standout in a high-level field for us at Jeffrey Deitch’s 2022 LA show held in response to Manet’s painting. Do you consider it your “masterpiece”?

A portrait of Mickalene Thomas taken à l’improviste by Maryam Eisler

MT: That piece is a milestone. It challenges the notions of beauty and identity – three confident black women are depicted with a fixed gaze at the viewer. I don’t believe in one “masterpiece”. The ultimate triumph is that a work resonates with someone by challenging their idea of beauty and identity or reminding them of their strength and power, especially if they are a black female or from a marginalised community.

LUX: You are indelibly associated with New York City. Is that how you like it?

MT: Completely. New York is my home and inspiration. Its cacophony, diversity and energy are inseparable from who I am and what I create. It breeds possibility. While it has changed since I moved here in the 90s, it’s still an epicentre for artistic community and connection – especially here in Brooklyn.

LUX: What is it that you love about Brooklyn?

Read more: Passenger Princess in the Aston Martin DBX S

MT: Brooklyn is home. The community is like no other – it’s culturally rich and inhabited by people from diverse backgrounds. Being surrounded by other artists also keeps me inspired and fuels my drive to keep creating.

LUX: What is your favourite part of New York?

MT: Walking across Brooklyn Bridge and pausing in the centre to look back at Brooklyn, with the vibrant city skyline stretching out ahead. Wandering through the city helps me clear my mind, reflect and dream big.

LUX: Which artists do you collect and why?

MT: My collection is like a love letter to the communities that have shaped me: women, black, queer and underrepresented artists. I simply buy art that I love and that inspires me. I started by trading art with artists such as Wangechi Mutu, Deborah Grant, Louis Cameron, Derrick Adams and Kehinde Wiley. My collection also includes a sculpture by Leilah Babirye, a mixed-media piece by Abigail DeVille and work by Joiri Minaya, a multidisciplinary artist who investigates the female body within constructions of identity and hierarchies.

Read more: A tasting of Joseph Phelps wines with Maison President David Pearson

LUX: What is new and interesting in NYC?

MT: There’s always something unfolding in New York that resists cliché. Its heartbeat isn’t just in big institutions. Now there’s a revival of salons, pop-ups, block parties, community studios, where art, music and activism breathe together.

LUX: In 2011, you had a residency in Giverny. Have you always been a person of contrasts?

MT: I’ve reinterpreted classic paintings through a contemporary, black and queer lens, creating a tension between time periods and approaches. My work is exuberant, even if it often carries weighty messages and new storylines, where black women claim space and embrace their beauty and power. By juxtaposition, I can spark new dialogues. The dualities keep my work alive.

LUX: Is creating public art important for you?

MT: Community is where the greatest impact begins – not just for society, but for artists. Making art accessible is a part of my practice. I recently completed a mosaic that is now in the lobby of the Ruth Bader Ginsburg Hospital. Justice Ginsburg’s favourite flowers – freesias and hydrangeas – dance throughout the mural with an energy that emulates the joy, strength and power she embodied. Art in public spaces becomes a catalyst for connection and change – a way for people to see themselves in the work and be reminded of possibility, resilience and joy.

mickalene.herokuapp.com

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Bentley by Lunaz remasters every surface, creating an interior that feels both timeless and contemporary

There’s nothing like a 1960s Bentley for grandeur and prestige. Now a UK company, Lunaz, is hand-crafting a contemporary electrically powered version with all the appealing parts, and none of the drawbacks

If you think there is something special – a kind of aura – about the most luxurious cars from a few decades back, we think you would be correct. The reason? This was an era in which there was far less wealth in the world. China, Russia, and many of the world’s current wealthiest territories were not buying luxury goods. As a result, there were fewer luxury creations altogether, and those that were, may feel that they were much more rarefied, even when experienced now.

Lunaz reconstitutes the Bentley interior, elevating the comfort and luxury by integrating modern features, including air conditioning, heated seats, and a touchscreen infotainment system

Follow LUX on Instagram: @luxthemagazine

An excellent example is the Bentley Continental S2, which was produced  in the early 1960s. Climbing into it felt like putting on a bespoke suit intimately and painstakingly made for you, rather than anything remotely mass produced. But there are some disadvantages to cars from that era; notably, the amenities, reliability, archaic performance and polluting nature.

Bentley by Lunaz offers the glamour of the vintage experience without the archaic performance

But we were driving the best of both worlds. A contemporary of JFK would recognise a Bentley by Lunaz instantly, but the interior and also the mechanicals have been carefully re-crafted and remade for the 21st century.

Read more: Grand Hotel Kronenhof Pontresina Review

It’s electrically powered for a start, giving it a smooth and clean burst of energy you would never have had with the original. Key elements like the brakes and the lights have also been upgraded – if you have driven a car from the 1960s you will know how bad the lights were back then. And you get air-conditioning, digital linkups and more, all craftfully hidden within what looks like an original car.

The interior of the Rolls-Royce Silver Cloud by Lunaz

Read more: Passenger Princess in the Aston Martin DBX S

Meanwhile, the most attractive aspect of the original – wafting around feeling like royalty – remains very much intact. The car is not dynamic by modern standards, retaining a significant element of the original’s floaty, gentle nature. It sits beautifully on a motorway, but you certainly wouldn’t race it down any country roads.

Lunaz offers the luxury of the Bentley without the climate impact

It’s most at home in town, or specifically driving from Scotts in Mayfair to your house in Belgravia, ideally with you and the Prince of Moravia in the back, and a chauffeur in the front. Although if you do drive it yourself, be sure to light up a Cohiba for extra authenticity. One of the most attractive old/new combinations we have seen, and a car you certainly won’t see any of your neighbours driving: such is its rarity. Very LUX.

bylunaz.com

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Reading time: 2 min

A view from the deck of the Joseph Phelps winery, looking over the vineyard in the heart of the Napa Valley

Joseph Phelps is a Napa valley wine legend. Maison President David Pearson is taking it to new heights, as we learn during a memorable tasting of fine vintages 

Is wine a luxury good? That $10 million question is in the mind of anybody who purchases a case of wine for the price of a fine mechanical watch, or in some cases a serious sports car.

Follow LUX on Instagram: @luxthemagazine

Ask five different people and you may get five different answers. Certainly some of the guardians of the old, family owned French wine estates have looked askance at me when I have asked them that question.

But, as a branded product with significant investment and responsibility to its environment, fine wine most definitely is a luxury good in many ways, aside from its price.

Joseph Phelps Vineyards owns and farms some 425 acres of vines in Napa Valley, with each vineyard bringing unique characteristics to the wines. Photograph taken by Seth Daniel

Nothing symbolises this more than the fact that the worlds greatest luxury titan, Bernard Arnault, has bought up some of the most hallowed brands in the wine world, from Dom Perignon and Krug to Château Cheval Blanc and, in Napa Valley, the Joseph Phelps winery.

Napa being what it is, it may be that the connoisseur of European wines reading this has not tasted bottles from the Phelps winery – but that is to their detriment. If there were a classification of first growths in Napa like there is in Bordeaux, Phelps would certainly be in there.

And so it was an honour for LUX to have a tasting, over zoom, of key vintages in the history of this fabled wine estate with Maison President David Pearson. Pearson himself appears to be created directly out of the confluence of luxury and wine. He is a Napa Valley stalwart, having previously directed equally legendary winery Opus One. But he also has the articulacy and ease of a genuine luxury CEO, as at home in a nouveau-style bistro in Paris as he would be pacing through the soils of Napa Valley.

Pearson is passionate about the importance of regenerative agriculture – farming that actually gives back to the soil, not just because it’s good for the environment, but it because by nature (literally) it makes better wines.

David Pearson, the Maison President, has a deep-rooted commitment to maintaining and enhancing the legacy of Joseph Phelps

He is also very aware that these days there is more choice than ever in the fine wine market and there’s no room to hide if the product itself is not at the pinnacle of its powers. Joseph Phelps may be owned by LVMH, but it does not have the marketing budget of Louis Vuitton: the wines have to stand on their own.

He speaks of the regenerative farming, and the focus on quality, as being part of a “compelling plan for our future“. There is an implication there that the great Napa estates have made their names over the last 50 years, and are now at the next step as mature brands, of blazing themselves into the consciousness of new generations of consumers in different destinations.

Read more: Passenger Princess in the Aston Martin DBX S

So given the importance of the product themselves, how did they taste?

Joseph Phelps flagship Insignia wine is really a wine for the ages: classical, structured, deep and long, it’s a wine aristocrat. It was interesting too to taste the other wines which receive less exposure in the fine wine world. Details are below, and the conclusion has to be that any serious wine collector needs a selection of Joseph Phelps, old vintages and new, in their cellar.

A glass of the Joseph Phelps 2022 Cabernet Sauvignon from Oakville’s Backus Vineyard on the eastern slopes of the Napa Valley

The Joseph Phelps wines and the LUX wine notes:

Joseph Phelps Insignia 2022

In the presence of greatness, but a bit like meeting Napoleon when he was 12. You have to wait a while to see what it will do, but by Jove, this will sweep the world with its breadth.

Joseph Phelps Insignia 2021

Very taut, like tapping on the case of a Stradivarius and then peeking inside. It’s all there but if you drink it now, you won’t have experienced it properly. Still, if you do, be sure to drink it with an onglet a l’echalotte.

Joseph Phelps Insignia 2019

I felt like I was attending the debutante coming out party of this wine. Beautiful, elegant and perfumed, and perfect, but will become beyond perfect, especially after it’s been out with the wrong boy for a couple of years.

‘Any serious wine collector needs a selection of Joseph Phelps, old vintages and new, in their cellar’

Joseph Phelps Insignia 2006

Very hard to find, these back vintages, and this is why: expansive, rich but also with a hint of delicacy. Aged in a different way to a Bordeaux. Drink with some very old Comte cheese on the roof of a castle in the Luberon with a very old friend.

Joseph Phelps Cabernet Sauvignon 2022

Not as aristocratic a wine as the Insignia, but absolutely delicious with a kobe steak at a nightclub restaurant in Monte Carlo with a person who you are not supposed to be with.

Joseph Phelps Syrah 2021

A surprisingly smoky, complex Syrah that is best consumed while watching sundown from your villa in Montecito.

Joseph Phelps Scheurebe 2024

Rich dessert wine, with a parfait late afternoon at Club 55, just before the witching hour and the new magnum of Cristal.

We also had a quartet of Burgundy-style wines from the sister Freestone estate: two pinot noirs and two chardonnays. These were delightfully balanced and beautifully made.

josephphelps.com

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LUX correspondent Lamya Al Saud with Aston Martin’s newest SUV: the DBX S

Aston Martin’s new DBX S is a combination of the world’s most powerful SUV engine and luxury style from the iconic UK manufacturer. LUX’s Lamya Al-Saud takes a ride, passenger princess style, and is regally impressed

I was surprised when LUX asked me to be our correspondent to test the new Aston Martin DBX S in the Dolomites in Italy. The DBX S itself sounded like quite a machine: a new 727-horsepower SUV from one of the world’s most prestigious manufacturers. But the catch was: I can’t drive, despite my parents telling me to get my licence for years. But it wasn’t an issue, my editor said. It would be a test as a passenger. After all, the most important people in cars like this are those going along for the ride, right?

Follow LUX on Instagram: @luxthemagazine

The drive took place in South Tyrol in northern Italy. The previous night, we had stayed in a delightful hotel in the village of Brixen. Suitably refreshed in the swanky spa, we got up early and hit the road, me in the passenger seat of a black DBX S with a black interior. Shutting the door to my right, its chic, shiny black leather seats had already been warmed up by the car’s technology.

“The DBX S itself sounded like quite a machine: a new 727-horsepower SUV from one of the world’s most prestigious manufacturers”

The leather felt soft to the touch, and in the middle was an elegant screen where you could plug your phone into for directions and music, and of course, buttons for all the car’s functions. I got to work immediately, adjusted the car’s heating, and had our route ready to go.

As my driver gets in the car, I sense my nerves: would this big SUV lurch me around and make me feel ill? The drive started, the roaring engine loud at first, but my driver turned it down, a feature I wasn’t aware existed.

We started down the really daunting, curvy roads of the mountain onto our trail, and my initial nerves settled as I looked around: the sun shining, gorgeous mountain trees, and classic greenery. The longer we drove, the more ice and snow we started to see. We could even see skiers on the slopes, which made me quite excited and also jealous!

“I could actually relax and enjoy the view, sitting in the soft leather seats, surrounded by the calm, warm, and beautifully finished interior”

Aston Martin introduced the DBX S this year as a luxury car with “F1-level performance.” Fortunately, it’s far more comfortable than an F1 car. The DBX S is the most powerful gas-only SUV, hitting 0-62 mph (0-100 km/h) in just 3.3 seconds.

Read more: Grand Hotel Kronenhof Pontresina Review

Upgraded turbochargers give it even more punch, while quad stacked exhausts, a new front splitter, and rear diffuser turn heads. You can go all out with a carbon-fibre roof, honeycomb grille, and 23-inch magnesium wheels to shave weight and boost performance. Bottom line? It’s light, loud, handles like a dream, and is luxurious and classy.

“The DBX S is the most powerful gas-only SUV, hitting 0-62 mph (0-100 km/h) in just 3.3 seconds”

I got to be the passenger princess, enjoying the view, but I was assigned a very important role: passenger DJ. The DBX S comes with Aston Martin’s 800W, 14-speaker Premium Audio system and Apple CarPlay, making it easy to queue up my favourite songs. The sound was incredibly clear and powerful, with deep, rich bass you could feel through the seats and crisp vocals that felt like they were right in front of you.

Read more: Hotel Balzac Paris review

From 70s ballads to current pop songs, I really enjoyed being able to control the music. When “Don’t Go Breaking My Heart” by Elton John and Kiki Dee came on, it sounded especially amazing, the piano was bright and lively, the vocals were perfectly balanced, and the upbeat rhythm filled the entire car, making it feel like we were at a private concert. The quality made the song feel more energetic and immersive, which perfectly matched the drive’s excitement. DJing in a high-speed luxury mobile nightclub, I really did feel like a princess.

“I may not be getting my driver’s licence anytime soon, but if every car ride felt like that, I’d happily stay a passenger forever”

We spent two hours driving through snowy mountain roads, surrounded by some of the most beautiful scenery I’ve ever seen. Normally, I get car sick easily, especially on winding alpine roads. I was nervous. But the DBX S completely surprised me. It was effortlessly smooth. Sharp turns didn’t feel sharp. Steep climbs didn’t feel dramatic. I never felt dizzy or nauseous once, which honestly is the highest praise I can give any car. I could actually relax and enjoy the view, sitting in the soft leather seats, surrounded by the calm, warm, and beautifully finished interior that made the whole drive feel cosy and comfortable.

I may not be getting my driver’s licence anytime soon, but if every car ride felt like that, I’d happily stay a passenger forever. I won’t have mine in Black, but a nice Princess-style Baby Pink from Aston Martin’s “Q by Aston Martin” special orders department, while a rich Burgundy interior will do nicely.

astonmartin.com

Photography by Marcus Werner for Aston Martin

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Reading time: 4 min

Entrepeneur, art patron and collector Alan Lo

Hong Kong-based collector, restaurateur, serial board member, philanthropist and social dynamo Alan Lo speaks about the art scene in Asia, his inspirations, and who’s stirring him right now

LUX: Are private foundations such as the Yenn and Alan Lo Foundation (YAL), which you initiated with your wife Yenn Wong, becoming more important to fill the gap in public funding of the arts?

Alan Lo: The Singapore art landscape is rather top heavy, dominated by National Gallery Singapore (NGS) and Singapore Art Museum (SAM). For the art ecosystem to thrive, we want to see activation across the whole spectrum, and we feel collector- or private patron-driven initiatives, such as YAL Foundation and our new transnational art-project space, Kim Association, exist to help fill a certain void.

Family Tango, 2024, by Skyler Chen, at the Yenn and Alan Lo Foundation

LUX: When it comes to collecting and philanthropy, who do you admire most and why?

Follow LUX on Instagram: @luxthemagazine

AL: There are so many great collectors and art patrons who have done amazing things, but I have to say my father Victor is of great influence to me. Not only did he build what has become one of the most important 20th-century Chinese-ink collections, he also dedicated more than 15 years to public service, creating M+ in Hong Kong from what was a concept on a government report to what is today – one of the most important museums of contemporary culture in Asia.

Expect Us, 2021, by Puppies Puppies (Jade Guanaro Kuriki-Olivo) at the YAL

LUX: Which two artists excite you most at the moment and why?

AL: Naotaka Hiro is a Japanese-born painter based in the LA. I love the poetry of his work, and he has been getting quite a bit of attention among collectors and institutions. I am also excited about New York-based conceptual artist Puppies Puppies (Jade Guanaro Kuriki-Olivo). She was included in the main exhibition of Venice Biennale 2024, and we inaugurate Kim Association with a presentation of her work, as well as a new performance, in fall 2025.

LUX: Is Singapore becoming the new Hong Kong?

Noise Blanket No 20, 2024, by Jacqueline Kiyomi Gork, at the YAL

AL: Haha, is that a trick question? I think the two cities have very different personalities. Singapore is the hot Switzerland, where you want to open your family office and private bank account and hang out with like-minded high-net-worth Southeast Asians. Hong Kong is where you will take your company public, keep your super yacht (with its beautiful waters and islands), build an art collection, drink DRC (being the only jurisdiction with freeport status) and expand your mainland business network.

Read more: An interview with Anna Nash of Explora Journeys

LUX: What would you like YAL Foundation to have achieved in five years time?

AL: It’s hard to say, but we hope our humble effort will help give things a kick-start and inspire other patrons to bring further activation to make a more vibrant scene, not just in Singapore but in all Southeast Asia.

@yalfoundation

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The facade of Grand Hotel Kronenhof, the jewel in the crown of the little village of Pontresina

On a shelf at the confluence of the Engadine, Bernina and Roseg valleys, the Grand Hotel Kronenhof, in the village of Pontresina, combines old-world grandeur, contemporary elegance, astonishing views and some knockout cocktails

Follow LUX on Instagram: @luxthemagazine

As anyone who reads this publication will know, St Moritz and its surrounding Alpine valleys are getting more desirable by the year. But that doesn’t mean that there are not discoveries within them, and the Kronenhof is most certainly one of them.

The alpine view from Hotel Kronenhof’s lobby lounge

Sitting on a plateau above a deep, forested river gorge, the Kronenhof is the jewel in the crown of the little village of Pontresina –  located at an even more spectacular point than St Moritz itself, a six kilometre, 10-minute drive away.

Read more: Tom Rowntree on modern luxury hospitality

Pontresina sits at the mouth of the Roseg valley, which rises up to reveal dramatic glaciated and snowy peaks year round. From the swimming pool at the Kronenhof through its huge plate-glass windows, you have a fishbowl view of the whole Engadine Valley and the forested mountains lining it.

‘Pontresina sits at the mouth of the Roseg valley, which rises up to reveal dramatic glaciated and snowy peaks year round’

The rooms in public areas can only be described as high mountain high chic. There is a view everywhere you go – and it all feels very integral to nature, not urbanised at all. You can head up the mountain alongside the hotel with a guide to discover ibex hiding in the forest; or take a horse and carriage ride up the valley opposite, towards the glaciers; or hike, mountain bike, trail run, swim in lakes… and slide back into the modern grandeur of the Kronenhof.

Read more: A week of art in Jaipur

Whether you are from Bangkok or Baku, the Belle Époque Grand Restaurant dining room, with its own minstrels’ gallery (unlike anything in, say, Courchevel), will take your breath away. You feel you are in the ballroom of a 19th-century Archduke, except at 1,800 meter altitude. Service is exquisite in the way only heritage Alpine hotels can achieve. We particularly liked the after-dinner cocktails in the sophisticated bar area, and going on to the cigar lounge and pool table.

The Belle Époque Grand Restaurant dining room of Hotel Kronenhof, offering guests a meal in classic yet modern luxury

With staff who seem to know you even if you have never been before (and remember you if you have, however long ago) and an underlying civility, gentility and professionalism that speaks not just to the staff but to the sophistication of the management, for summer, winter, or in between, we can’t recommend it enough.

kronenhof.com

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Just steps from the Champs-Élysées, Hôtel Balzac brings together a historic building and state-of-the-art design after a complete renovation by Festen Architecture

The Hotel Balzac in Paris combines boutique chic with the feeling of being in a (very sophisticated) friend’s home, as LUX discovers 

Where to stay in Paris this spring? The great hotels of Paris share many qualities: style, grandeur, history, and often a powerful sense of superiority that they really are at the centre of a city unmatched by any other for sophistication.

Follow LUX on Instagram: @luxthemagazine

What they don’t tend to have, however, is tranquility and this is exactly what you find when you walk in to the Balzac. A quality even more surprising given the hotel’s location just metres off the Champs-Élysées and within throwing distance of a handbag from both the Louis Vuitton flagship and the shops of the 8th.

The lobby at Hôtel Balzac, where you can sip a cocktail or 1930s vintage

The Balzac, on a stylish side street of the same name, welcomes you in with a white tea perfume, a perfectly coiffed doorman swinging the door open for you, and a sense of 1930s-meets-contemporary style that could only emanate from the coolest collection of hotels in Paris.

You sit on white sofas and cut crystal decanters while sipping your welcome cocktail, lime hued, out of a martini glass of similar 1930s vintage (non-alcoholic, but there is an alcoholic version available in the utterly chic bar a few steps away), before being taken up to your room.

Inside Spa Ikoi, a Japanese wellness space brought to the centre of Paris by Hôtel Balzac

Ours was as tranquil as the lobby, every detail so perfectly put together that it could only be in Paris, every detail aimed towards peace and the feeling of a private home. Everything from the late art deco glassware and decanters through to the kettle, hairdryer, light switches… It feels as if you are at the home of a very stylish interior design designer friend whose parents are in fashion and art.

Read more: Tom Rowntree on modern luxury hospitality

It’s well executed too, not just surface detail: the bed is properly comfortable, the stunning bath is not just a page out of Architectural Digest magazine but supremely delicious to be in, the mini bar snacks and drinks comprise only the most artisanal brands which are also delightful to consume.

The rooms are as tranquil as the lobby, with the feeling of a private home

So is this the perfect Paris hotel? That depends a little bit on you and your requirements: if you want to take a group of friends to a flashy restaurant or bar, this is not the place, and nor is it where you take a bunch of investors looking for the flashiest parts of Paris for a business meeting.

But if you’ve been there, done everything flashy, and just want to sink into the spa/design/architectural home of some friends in the heart of the eighth – or feel like you are – there really is no better place.

hotelbalzac.paris

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