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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Marcantonio Brandolini d’Adda, photographed by Simon de Pury

Artist, artisan, thinker: Marcantonio Brandolini d’Adda hails from one of the most significant Venetian families and is a contemporary reincarnation of a Renaissance rebel, with looks and connections to match. He tells LUX his manifesto for 2026 and beyond

“From next year, I’m not going to be an entrepreneur, nor an artist or a designer – I’m just going to be me. There should be a new word, perhaps, to communicate all those personas in one – like a kind of Frankenstein.

Follow LUX on Instagram: @luxthemagazine

I suppose putting things into categories is part of life. But for me, there’ll be no more putting things into boxes or letting others define what I am.

“Moduli Luminosi” solo exhibition at David Gill, London, 2025

From next year, my direction is clear: I’m focusing on my artistic development – on developing my creative soul, my language. I think others should “feel” what you are.

My question has always been: why am I creating work for the public to see? Is it to express my feelings? To confront social injustices? The new work I’m putting together is an attempt to answer that question.

Read more: Arch Hades’ Return at the Venice Biennale

My creative process has three stages. It starts with confusion – with an existentialist question, such as, “what’s the point of life?” The answers can be infinite. Then I start writing answers and asking more questions, digging until I get an answer to investigate with intensity. This stage is rough. I write differently. My hands hurt from how tightly I press the pencil. Then comes the final stage: peace. That intensity dissolves into a line, shape, drawn in pastel. At that point I’ve answered my question. I feel complete.

White Pool glassware designed by Alvise De Mezzo, by Laguna~B, of which Brandolini d’Adda is Artistic Director

In my next work, glass is out. People always say, “glass is your passion”, but it has never been a material I’ve liked to express myself with. I want to understand what I am doing and why and communicate that to the public. For now, that means not using glass. It might eventually come back in another form, but it’s a question I hope this research will answer.

Read more: Jennifer Shorto’s highlights of the Cora Sheibani collection

This work is important to me. I never went to art school, so this process of realising what life and art should be comes entirely from within. It’s not something I’ve been taught.

Marcantonio Brandolini d’Adda at work in his studio

Coming from a famous family can be a challenge. But I see it as an opportunity, a tool to communicate with the public and understand what might be useful to them. I can’t hold a conversation for more than 10 minutes. If I can do it through art, then maybe my background will become a “fuck you” to everyone.

Venice is in my DNA. It’s a city that gives me tranquillity, space. But I want my business to grow beyond that – to stand alone. I will have an atelier open to the public in Venice. You may see some glass, but also what’s next – perhaps performance, or sculpture, too.

lagunab.com

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Arch Hades photographed in her studio by Eva Herzog

In her newest exhibition ‘Return | Ritorno’, the poet and artist Arch Hades has transformed the historic site of Scoletta Battioro e Tiraoro di Venezia into a stage for her artworks. Displayed amongst the building’s architecture, paintings, and sculpture, Arch Hades has created an immersive environment of large-scale works and soundscape for the 61st Venice Biennale

Follow LUX on Instagram: @luxthemagazine

Return | Ritorno  unfolds across three floors of the Scoletta Battioro e Tiraoro di Venezia, a decommissioned church on the Grand Canal in Venice. Photograph by Eva Herzog

Arch Hades uses fibreglass and acrylic polymer to create a ‘marble’ finish for her piece I want to return to the past but no one will be there, as part of her Confessions Series. Photograph by Eliot Gelberg-Wilson

Return, 2025. The centrepiece of the exhibition is a monumental 22-panel painting spanning 13 metres which pays homage to Greco-Roman sculpture. Photographed by Eva Herzog

LUX Editor-in-Chief Darius Sanai with Arch Hades at the opening of Return | Ritorno for the 61st Venice Biennale

Arch Hades combines her poetry with visual art in her display of Sphinx, 2026. Photography by Eva Herzog

Arch Hades, Rain, 2025, exhibited alongside the site-specific work of Scoletta Battioro e Tiraoro di Venezia. Photography by Eva Herzog

Exhibition details:

Return | Ritorno  
Scoletta Battioro e Tiraoro di Venezia
Supported by Erarta Foundation 
7 May - 30 October 2026 

archhades.com

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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?

Follow LUX on Instagram: @luxthemagazine

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.

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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

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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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