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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Judges and principals and the winner of the inaugural LUX Patina Art Residency. Top row from left: Christian Levett, Ilaria Ferragamo, Maria Sukkar, Shezad Dawood, Evan Kwee, Marie-Laure de Clermont-Tonnerre, Masha Nosova, Lexie Rodriguez. Crouching: Arturo Galansino and Darius Sanai

More than 100 of Europe’s most significant art patrons gathered at the London home of Maria Sukkar, LUX Senior Contributing Editor and Co-Chair of the TATE Middle East North Africa Acquisitions Committee, to celebrate the launch of the inaugural LUX Patina Art Residency.

The Residency, under the theme of Fluid Worlds, was awarded to London-based artist Shezad Dawood by Capella Hotel Group Vice Chair Evan Kwee. The prestigious prize was voted on by a jury of prominent art world figures, directed by by LUX Editor-in-Chief Darius Sanai, chaired by Maria Sukkar and including Christian Levett, Charlotte Colbert, Sana Rezwan, Hubert Bonnet, Marie-Laure de Clermont-Tonnerre, Sarah von Boetticher, Alan Lo, Christian Levett, Ilaria Ferragamo, and Masha Nosova.

Dawood will spend several weeks at Patina Maldives creating artworks in 2026, as the jury comes together to deliberate the next recipient of the award.

Pictured with work by Shezad Dawood: Lexie Rodriguez, Evan Kwee, Maria Sukkar, Shezad Dawood, and Darius Sanai

“I was honoured to chair the jury of the inaugural Patina Art Residency, a meaningful initiative that champions artists at a defining stage in their journeys. Their work, rooted in such attentiveness to our world, moved me profoundly and filled me with hope.”

– Maria Sukkar

Follow LUX on Instagram: @luxthemagazine

“Serving on the Patina Art Residency jury has been an honour. Each shortlisted artist revealed a fearless ability to push boundaries through bold experimentation, offering works that both challenge and connect. Together, they remind us of art’s enduring power to reimagine the world and make much needed change through vision, courage and possibility.”

– Sana Rezwan

Evan Kwee, on the right, is from the owning family of Pontiac Land in Singapore; the group also owns the Patina and Capella hotel groups. To his right is Maria Sukkar, our host for the night

“Art has the power to spark awareness and dialogue around the most urgent environmental challenges we face today. Supporting artists through initiatives like the Patina Art Residency ensures that creativity and responsibility go hand in hand.”

– Hubert Bonnet

“What moved me most was the energy and freedom of the artists. The works did not just tell stories but opened up spaces – fluid worlds that shifted our perception. For me, it was a powerful signal of how vibrant and relevant contemporary art is today.”

– Sarah von Boetticher

Warly Tomei, Azia Chatila, Ilaria Ferragamo and Véronique Namy

“It’s an honour to be invited to be a judge for the Patina Art Residency. Ocean health is of utmost importance, not just to the region but also to the global ecosystem, and the quality of submission is a testament to the impact this project is creating.”

– Alan Lo

Read more: Rachel Verghis interviews Sam Falls

“The Patina Art Prize stands out this year as one that highlights the importance of addressing issues of sustainability, in a world where that faces significant political challenges just recently in that regard. One should commend all the brilliant artists that have taken part this year and the excellent artwork they’ve produced surrounding this subject.”

– Christian Levett

Darius Sanai, Maria Sukkar, and Dr Paul Ettlinger

“Art brings people together, engages their creative side and allows reflection and solace. To bring together leading art patrons to support art and artists at Patina is a great privilege, and a testament to the vision of Patina’s owners.”

– Darius Sanai

Read more: Spirit Now London acquires works for National Portrait Gallery at Frieze

“It was a fascinating and deeply inspiring experience to serve as a judge for the Patina Art Residency. The artists’ works truly captured our evolving bond with the natural world.”

– Ilaria Ferragamo

Woven work by Shezad Dawood

“Art is not mere adornment but a potent catalyst, serving as a nexus for discourse, bridging divides and uniting industries in shared purpose. This prize truly stands as a model for how targeted cultural initiatives can drive systemic change and interdisciplinary synergy. This convergence transforms passive appreciation into active stewardship, inspiring artists and audiences to collectively champion the preservation of our planet’s vital marine ecosystems.”

– Masha Nosova

The next edition of the LUX / Patina Art Residency will choose an artist to visit and create works at Patina Osaka, in Japan.

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“I always sleep with a duvet as I like feeling some weight on me, but it’s always been tricky to find one that has the right weight without causing me to overheat. This one is the perfect balance. It breathes as well as insulates. Magic.” – Constance Jaeggi O’Connor, photographic artist

If luxury is now about craft and artisanship, and sleep is one of the ultimate luxuries, then everyone needs to get to know Binith Shah’s Umō Paris and its sustainable, ethereal duvets

Follow LUX on Instagram: @luxthemagazine

In an era when celebrated luxury brands are selling increasingly mass-produced goods to millions of people, where do you connoisseurs of true luxury go? Towards craft, towards artisans with a niche focus on thoughtful quality combined, ideally, with a responsibility to the planet in creating products that do not harm it.

The company’s Eider ducks living freely in a protected area of Iceland

This nod towards “natural capital” – a term that will be familiar to readers of our sustainability-special sections in LUX – in combination with a relentless pursuit of the highest possible quality has been applied to a few different sectors, from champagne to clothing.

Read more: Linder through the highball glass

And now it’s being applied to arguably one of the most important yet neglected areas of everyone’s lives: sleep.

A portrait of Binith Shah, Umō Paris founder and CEO

Binith Shah, an entrepreneur based in Paris, wants to ensure that you get the best possible night’s sleep, whether that’s at home, on your holidays or on your plane. He is doing so by creating the world’s most luxurious duvets, with luxury defined not in how ornate they are but by sheer quality of product – and its sustainability.

Umō Paris duvets are made from the down of Eider ducks who roam freely in the wilds of a sanctuary in Iceland (umō means down in Japanese). The female Eider naturally moults the down from her breast plate, and it is gently gathered from her nest. The duvets are then hand-stitched by craftsmen in Chablis, France.

The Eider duck wing motif that features on each duvet

Availability is bound by nature itself: the rare Eiderdown, gathered once a year in limited supply, defines the exclusivity of Umō’s work. But as the testimonials from customers here show, it might be the most important purchase you had never thought of making.

Read more: Inside Milan with Francesco Maccapani Missoni

Next up, Shah wants to expand the positive energy he is bringing to other areas of the world of sleep. More anon and sweet dreams in the meantime.

A specialist artisan prepares the Eiderdown ready to make Umō Paris duvets in Chablis, France

“I always sleep with a duvet as I like feeling some weight on me, but it’s always been tricky to find one that has the right weight without causing me to overheat. This one is the perfect balance. It breathes as well as insulates. Magic.”

umo-paris.com

Photography by Constance Jaeggi O’Connor

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Rachel Verghis, founder of VerghisArt, photographed through the highball glass by Linder, an artist known known for her photography, radical feminist photomontage and performance art

At a recent salon in the London home of Rachel Verghis to celebrate her solo show at the Hayward, Linder took pictures her style, grabbing a highball glass from the bar to shoot her subjects through

Follow LUX on Instagram: @luxthemagazine

Linder is the former punk whose artwork rang out on the cover of the first single by the legendary Buzzcocks. She has since become one of Britain’s most enduring artists, working in a variety of media, always championing feminism, always outraged at the patriarchy, always countercultural.

Behind the scenes of Linder photographing Philip Colbert through the highball glass

A self portrait by Linder

Dina Kamal Marchant, by Linder

Sigrid Kirk, by Linder

Linder and Rachel Verghis photographed together, with her work in Verghis’ collection

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The Fondation Cab building, which offers guest rooms alongside contemporary art

The south of France and Monaco are becoming among the hottest destinations in the art world, literally as well as metaphorically. The scenic region, once a celebrated home to artists and patrons, has seen a new influx of foundations, private museums, philanthropists and collectors who are supercharging the Riviera vibe. Here, four leading lights from the area, Simon de Pury, Marie-Laure de Clermont-Tonnerre, Christian Levett and Catherine Loewe present the inside track of what’s “ouf” between Marseille and Menton

Follow LUX on Instagram: @luxthemagazine

Fondation Cab, Saint-Paul de Vence

With views over the Cap d’Antibes peninsula, the Riviera branch of Hubert Bonnet’s Fondation Cab houses a minimalist and conceptual contemporary art collection and offers seasonal exhibitions and artist residencies, all in a restored modernist site.

Quatre couronnes circulaires entremêlées, 2020, by Felice Varini, from the Fondation Cab collection

“My friend Hubert Bonnet was always passionate about architecture, art and design. His Fondation Cab was born from his desire to support artistic creativity and become a source of inspiration. In 2021, the foundation opened a second location in Saint-Paul de Vence. It is a must see in the area! I love the renovation of this 1950s’ house by the architect and interior designer Charles Zana and the beautiful Maison Prouvé in the garden.”

– Marie-Laure de Clermont-Tonnerre

Mater Earth, 2023, by Prune Nourry, on the Château La Coste estate

Château La Coste, Puy-Sainte-Réparade

The historic organic vineyard near Aix-en-Provence inaugurated an art and architecture park, established by Paddy McKillen, in 2011, as well as a hotel and restaurants.

Read more: Inside Milan with Francesco Maccapani Missoni

The Oscar Niemeyer Pavilion, conceived by the architect between 2010 and 2013, and unveiled in 2022 in a vineyard on the Château La Coste estate

“The sculpture garden at Château La Coste is a wonderful and unforgettable experience. At the entrance by Louise Bourgeois’s Crouching Spider is the start of an Art and Architecture Trail, which winds through the hills and vineyards of the estate. Designed by Tadao Ando, the art centre reveals a meticulous attention to materials and textures, and blends seamlessly into its surroundings. Other architectural pavilions, such as those by Renzo Piano and Oscar Niemeyer, are also worth a visit.”

– Marie-Laure de Clermont-Tonnerre

The 1960s Dragon Hill building, designed by Jacques Couëlle along ecological lines

Dragon Hill, Mouans-Sartoux

The pioneering art residency, founded by London gallerists Jonny Burt and Joe Kennedy, is located on a mountaintop above the village of Mouans-Sartoux, near Cannes. Curators, academics, patrons and collectors are welcomed for visits by appointment.

Read more: A tasting of top Napa Cabernet Sauvignons with Paul Hobbs

A sculpture by Claudia Comte on the Dragon Hill grounds

“Dragon Hill’s dreamy Riviera villa designed by visionary architect Jacques Couëlle is a place one never wants to leave. It is a retreat for artists and writers to revel in the natural beauty, tranquillity and cultural legacy that this part of the world is famed for. I am excited to be curating a special exhibition there for two brilliant women with strong ties to the region, Maryam Eisler and Nicole Farhi.”

– Catherine Loewe

Villa E-1027 is set before Le Corbusier’s Le Cabanon on the Riviera coast

Eileen Gray Villa E-1027, Roquebrune-Cap-Martin

Built in the 1920s and overlooking a small beach beneath a dramatic coastal path, Gray’s villa was fully restored in 2021. The site can be visited from April to October by guided tour and prior booking only.

Read more: A sojourn in Egypt

The furniture was designed for the space by Eileen Gray

“E-1027, the iconic Eileen Gray modernist villa built between 1926 and 1929 in Roquebrune-Cap-Martin and lovingly restored by Michael Likierman is the perfect destination for a hike along the sea from Monaco.”

– Simon de Pury

The Abstract Expressionist Gallery at Famm

Famm, Mougins

Founded by collector and LUX Contributing Editor Christian Levett, Femmes Artistes Musée Mougins (Famm) opened in 2024 in an historic village near Cannes. The collection, which unfolds across four floors, features artists including Berthe Morisot, Nan Goldin and Jenny Saville. The museum can be visited year round.

Read more: Arch Hades in conversation with Catherine Loewe

Les fils du roi, 1906, by Jacqueline Marval, from the Famm collection

“One of the interesting things about having a museum in the south of France is it’s a place where things are happening: Luma and Cab are fairly recent, Carmignac only opened eight years ago. You have Domaine du Muy, owned by Jean-Gabriel and Edward Mitterrand, near Saint-Tropez – another sculpture park in the area. And there’s Dragon Hill as well, open to private tours by collectors and curators.”

– Christian Levett

A Maeght gallery, designed by Silvio D’Ascia and opened in 2024, was conceived to complement the original architecture by Josep Lluís Sert

Fondation Maeght, Saint-Paul de Vence

The renowned foundation was founded in 1964 by Marguerite and Aimé Maeght, friends of the most important artists of their time who left their mark on the building and its extensive gardens. Temporary exhibitions include Ellsworth Kelly, from June to November 2026.

The sculpture garden, including two Personnage sculptures, 1970 and 1972, by Joan Miró

“I am always very enthusiastic about the idea of returning to this magical place, nestled among pine trees and bathed in light. Stroll through the sculpture garden, where you encounter Miró, Giacometti or Calder, then enter the museum to admire Chagall, Braque and so many others. A timeless gem that merges art, nature and architecture.”

– Marie-Laure de Clermont-Tonnerre

Read more: The heart of London’s art circuit at the Royal Academy

An exhibition view of Couleurs! Chefs d’oeuvre du Centre Pompidou, 2025 at the Grimaldi Forum

Grimaldi Forum, Monaco

Inaugurated in 2000, with an extension by Alexandre Giraldi and Patrick Raymond in 2025, the 35,000 square metre waterfront site hosts exhibitions, performances and concerts all year round.

An exhibition view of ‘Monet et la Riviera’, 2023, at the Grimaldi Forum

“Under the lead of Sylvie Biancheri, the Grimaldi Forum in Monaco has been reliably churning out one blockbuster show after another. Its flexible interior is any curator’s dream.”

– Simon de Pury

Krauses Gekröse, 2011, by Franz West at Luma’s Parc des Ateliers site

Luma, Arles

Established in 2013 by founder Maja Hoffman and featuring architecture by Frank Gehry, the singular vision for Luma includes exhibitions of multidisciplinary art and programmes supporting engagement with creative ideas and social issues.

Isometric Slides, two 12-metre-high slides in the Tower building, 2021, by Carsten Höller

“With Luma Arles, Maja Hoffmann has founded the ultimate publicly accessible research laboratory combining art and science. Besides which, she is the cultural dynamo responsible for the Fondation Vincent Van Gogh and for Les Rencontres d’Arles de la photographie.”

– Simon de Pury

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Francesco Maccapani Missoni at work in his Milan studio

The artist, author, entrepreneur and scion of the Italian luxury fashion house opens his address book on Milan, garden cities, inspiration and his art

LUX: Where should an artist visit in Milan?

Francesco Maccapani Missoni: Three galleries: Spazio Maiocchi, in via Achille Maiocchi; Spazio MMXX, in via Donatello; and Matta, in via Privata Giacomo Favretto. All these have the best underground and alternative art vibes.

Follow LUX on Instagram: @luxthemagazine

LUX: Where do you go to in Milan to be seen?

FMM: Bar Basso, in via Plinio, a classic bar where you must have the “mistaken” Negroni, the Negroni Sbagliato, invented there in the 70s. Then there’s SottoSotto on the corner of via Albertini and via Paolo Sarpi, which has a great food and wine selection. And, of course, Camparino on Piazza Duomo.

Optical Dissuasions, by Francesco Maccapani Missoni

LUX: And where do you go to not be seen?

FMM: I stay home.

LUX: Is the influx of global wealth to Milan a good thing?

Read more: A tasting of top Napa Cabernet Sauvignons with Paul Hobbs

FMM: No! Wealth makes things impersonal and inhuman.

LUX: Where can a visitor to the city find the best Milanese food?

FMM: Trattoria Masuelli San Marco, in viale Umbria, for the milanesine di vitello and risotto alla milanese; Trattoria Milanese dal 1933, in via Santa Marta – you must have the risotto al salto; and Al Matarel, in via Solera Mantegazza – ask for the rustin negàa, it’s the original cotoletta.

Aiming for Love, by Francesco Maccapani Missoni

LUX: What’s the best day trip from Milan?

FMM: Varese, my home town. It’s called la città giardino, or the garden city.

LUX: Where do you go to be inspired?

FMM: I don’t go anywhere for inspiration for my art. Any place can bring ideas.

Read more: A sojourn in Egypt

LUX: The most overrated part of Milan?

FMM: The quadrilatero shopping area: Manzoni, Montenapoleone… Predictable.

LUX: How has Missoni inspired your work?

FMM: That’s easy. I have grown up in a world of patterns and colours. They are in my spine.

Missoni with his mother Angela, grandmother Rosita and sister Margherita

LUX: What are your favourite places to see contemporary art in Milan?

FMM: Fondazione Prada and Pirelli Hangar Bicocca. They are simply the two best spaces to see art, especially big exhibitions.

LUX: What’s a secret city gem that you love?

FMM: Naviglio della Martesana. It’s a 40km-long canal, worth visiting for its quiet and picturesque atmosphere. The towpath is perfect for walking, running or cycling, away from the chaos and smog of the city.

LUX: What’s next for you and your work?

FMM: I’ve several projects I’m excited about. In Venice, we are talking about an exhibition with other artists during the Biennale. Then Bodrum for the summer. For September I’ve been invited to Parallel Vienna, an annual contemporary art fair in Vienna. And, well, there might be something big in October/November in Istanbul. Watch this space.

fmmarts.com

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Paul Hobbs, one of the most celebrated names in the world of wine, photographed in one of the Paul Hobbs Wines vineyards

Paul Hobbs has been a leader in the wine world for decades, so much so that his eponymous wines now have a brand that shines independently of the man. LUX gets together with Hobbs himself for a conversation and tasting of his top Napa Valley Cabernet Sauvignons, sourced from particular vineyard sites

Paul Hobbs is a wine world legend, so much so that one might be surprised that he can be interviewed. Like Louis Vuitton for fashion or Henri Jayer for Burgundy, he is surely a name, not a person.

Follow LUX on Instagram: @luxthemagazine

But Hobbs, one of the founding team of Opus One and maker of some of North America’s legendary cabernet sauvignons, pinot noirs and chardonnays, is very much alive, well, and on a Zoom with LUX.

Paul Hobbs foster a range of vineyards that stretch across the Russian River Valley, West Sonoma Coast, and Napa Valley

He is a strict, precise interviewee – not someone you feel who would suffer fools or who has much time for small talk. “Wine was not on my radar when I was growing up,” he says in response to a question about whether wine was in his blood like it is with so many other wine legends. He explains that he grew up on a farm in rural New York and it was only when his father took him to visit one of the nascent wineries (then becoming famous for Riesling) in the scenic Finger Lakes area that his interest awoke.

Still, he intended to be a medical doctor – something easy to imagine him as, with a thoroughness of air – but was eventually seduced by wine, even writing a doctorate on the attributes of different oak barrels at America’s Sorbonne of wine: University of California at Davis.

The flagship Nathan Coombs Estate in the Napa Valley, named after the founder of the City of Napa

His scientific background “gave [him] an advantage” over others starting out in the wine industry, he believes, and this rigour stands out in the current precision of production of some of the world’s greatest Cabernet Sauvignons from single vineyard sites in the Napa Valley, which we proceed to taste together.

Read more: A sojourn in Egypt

Hobbs is not an outwardly emotional man but says he is “proud to be at the leading edge” of what he does, setting standards and creating concepts that others aspire to – and he has now done so for decades.

A bottle of the 2021 Nathan Coombs, described by Editor-in-Chief Darius Sanai as a ‘dormant volcano’

Tasting notes by Darius Sanai

2021 Nathan Coombs

From a (relatively) cooler part of Napa, this tasted like a dormant volcano in the best way. Power and might and richness, but with a kind of geological precision to it. One to drink at Arzak over roe deer loin, black trumpet leaves and mushrooms

2021 Beckstoffer Dr. Crane

This is a wine to toast a billion dollar deal with, from your mansion above Montecito. Endless in its flavours and layers, it is also a wine for the ages, and if you’re a confident investor in a California longevity company we would suggest cellaring it for the next 100 years and enjoying it in 2126.

Paul Hobbs with his attention to detail in the vineyard

2021 Las Piedras

This is a cult wine for many collectors in the US, and tasting it for the first time, I wanted to be in the LUX mountain hideaway above Aspen (still in planning stage) with three poets and four artists, pondering every savoury, mountain-tinged sip in the forest.

Read more: Arch Hades in conversation with Catherine Loewe

2021 Beckstoffer To Kalon

To Kalon is a vineyard in the Napa Valley known to many as the Chateau Latour of Napa, or perhaps its should be known as the Grands Echezeaux, as wine is made from it by a few producers. This wine is as long as the sky, and we would drink it now either with our last meal, or at dinner with Anne-Sophie Pic (herself) in the rookery of an Umbrian castello, in late autumn, after a rain shower, over a six-course menu she rustled up in the 13th-century kitchen.

paulhobbswinery.com

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Diane von Furstenberg in the piano nobile apartment of Palazzo Brandolini, photographed by Simon de Pury in Venice

The daughter of a holocaust survivor, Diane von Furstenberg shot to fame in the creative cauldron of 1970s New York, where she created the wrap dress that instantly became fashion heritage and partied with Andy Warhol and his Studio 54 crowd. Now based between NYC and Venice, where she is actively involved in the cultural scene, the cool-as-ice-cream DvF was photographed by Simon de Pury for our Winter 2025 cover in her home in a celebrated Venetian palazzo; she also painted the issue’s LUX logo with inspiration from her adopted hometown

LUX: You reached a position of power during the 1970s when very few women did. What shaped you to do that?

Diane von Furstenberg: Aged 22, my mother spent 13 months in the camps. She came back and she weighed 29 kilos. Nobody could believe she survived, but she did. Her mother fed her like a little bird.

Follow LUX on Instagram: @luxthemagazine

After six months, her fiancé came back from Switzerland, they got married and the doctors said, “You have to wait two or three years before you have a baby, because you’re not going to survive and the child will not be normal.” And sure enough, 12 months later, I was born. And so my mother used to say, “God saved me so that I can give you life. By giving you life, you gave me my life back. You are my torch of freedom.” So I was born with a torch of freedom in my hand, which could be a little heavy for a little girl, but actually it was a blessing because it forced me to be responsible for myself from day one. My mother taught me two things: fear is not an option. And the other thing: never be evicted. And that’s that.

Diane von Furstenberg photographed at her apartment in Palazzo Brandolini, Venice, 2025, by Simon de Pury

LUX: It is an incredible story.

DvF: So I live the adventure of my life and still today, this morning, in my diary I wrote, “I have such a strange life. I improvise every day.” I mean, it’s an improvisation that I decided to have Venice be the stage for the winter of my life. It’s not particularly original, because a lot of eccentric older women decided to live in Venice, but anyway.

The other thing about my life that I think is special, even at my age, is agility. I have written in my diary every day, all my life. Every year, because I’m born on New Year’s Eve, I choose a couple of words for the year. Two years ago, it was gratitude and clarity. Last year, what was it? Oh, intention, manifestation, and this year was strength, kindness, agility. Agility – especially today when no one knows what the fuck is happening – agility is very important.

LUX: A recent documentary about you was called Diane von Furstenberg: Woman in Charge. What does being in charge mean to you?

DvF: To be in charge is first and foremost a commitment to yourself. It’s owning who you are. You own your imperfections; they become your assets. You own your vulnerability; you turn it into strength. It’s about being true to yourself, and it’s an ongoing process you need to practise every day. When you’re very high because you’re successful, you remind yourself, “Don’t believe your own bullshit.” And when things are tough, you say, “Ok, one door closed, another one will open.” Whatever is happening, you own it. You have no choice.

A photograph from an earlier time in Venice, from Diane von Furstenberg’s personal collection

LUX: You moved into the piano nobile apartment of the Palazzo Brandolini last year. Can you tell us about your relationship with Venice?

DvF: The first time I visited Venice, I was 17. We were tourists among others, visiting San Marco, having a delicious lunch in a garden, sliding through the narrow canals in gondolas, absorbing the beauty. I was silent, drinking it all in. But that day, something else was happening. I had fallen in love the night before with a handsome Italian boy and I felt I was a woman for the first time. From that moment, Venice, love and woman became linked forever.

Read more: A sojourn in Egypt

This, of course, is not original. Doesn’t everyone fall in love in Venice? Isn’t it the city where more love vows are made than any other? Three years later, Prince Egon von Furstenberg, the future father of my children, took me to Venice. His mother had a house in the countryside, but his aunt Cristiana lived in the most beautiful palazzo on the Canale Grande.

I will never forget walking into the piano nobile of the Palazzo Brandolini. I had never seen anything more grand, more glamorous. The carved ceilings, the frescoes, the walls with so much history, so many intrigues. I was not a tourist any more. It was the first week of September: the season of lunches, parties, balls and movie stars everywhere for the film festival; a rendezvous of beautiful people. I was in awe.

Diane von Furstenberg with her children Tatiana and Alexander, from DvF’s personal archive

From that moment, I came to Venice every year, enjoying the beauty, the exhibitions, the Biennale, the movies, the masquerades. I remember my first week with my daughter, an opera at La Fenice, a beautiful wedding in Torcello, my husband Barry Diller and I sailing into Venice on our schooner, the Eos.

LUX: You created a project for the Biennale Architettura 2025 on this idea of Venice as a woman. How did it come about?

DvF: I read a biography of Venice and discovered her history, creativity, courage and resilience. Some call her la dominante, Queen of the Adriatic or the Bride of the Sea. I identified her as the woman I admire the most, a woman I would like as a mentor, the woman I would have loved to be. To me she is the Serenissima, the ultimate symbol of femininity, elegance and brilliance, a resourceful creature who excels in balancing solution and seduction.

So it is my fantasy to imagine Venezia as the extraordinary woman who has been at the centre of history for 1,600 years, the alchemist who combined utility and creativity, who used her survival skills for triumph and glory. Carlo Ratti, curator of the Biennale Architettura 2025, was amused by my passion for Venezia the woman and invited me to conceive a project.

Diane von Furstenberg on the Eos in the Mediterranean with her husband Barry Diller

I researched and imagined the eight major roles Venezia the woman played in history. She’s the master of architecture, the brilliant maritime engineer, the opportunistic merchant that led her to be the financier banker. Above all, she is the muse – the creator of art, the diplomat, justice and, finally, Mother of the Republic.

With this vision, I went to my talented friend the artist Konstantin Kakanias, and asked him to paint the eight scenes of Venezia the woman. I then seduced Tiziana Plebani, historian, writer and true Venetian citizen, to write the stories of Venezia in the first person. Those beautiful artworks appear as large flags and float outside along the bookstore pavilion by New York architect Liz Diller for the Biennale 25. And the book is Serenissima: Solution & Seduction.

Read more: Arch Hades in conversation with Catherine Loewe

LUX: You have spoken about reinvention with Venezia, but is there also reinvention in yourself?

DvF: Definitely. My life now is a reinvention, deciding Venice would be the stage for the winter of my life. Venice is also the original startup innovator, founder of all the logistics of the past millennium, from banking to diplomacy, and I think it has a role to play in the future. So I can assemble a lot of people here and I can try to elevate the debate and that’s what I am now very interested in. Being in charge was always a movement I carried through, but I’ve also discovered the power of kindness. Kindness is a currency. And like money, it compounds, it compounds, it compounds. Generosity is the best investment. Now the movement is about being in charge and the power of kindness.

Diane von Furstenberg on her balcony overlooking the Grand Canal, 2025, photographed by Simon de Pury

LUX: As you see Venice as a woman, does that link to how you see your fashion career?

DvF: It’s not really fashion that interested me, it is woman. Two years ago, there was an exhibition about me and my work in Brussels, where I was born, made by a young curator, Nicolas Lor, and he called it “Diane von Furstenberg: Woman Before Fashion”. I’m much more interested in the woman, and so my fashion is timeless.

LUX: Who is the DvF woman?

DvF: She’s many women, but she’s the woman in charge, she’s on the go. And she’s sexy. But she could be many, like all of us, we could be different people. She could be a boss lady. She could be a diva. She could be a hostess.

LUX: You launched your iconic wrap dress in 1973. Women then didn’t have many clothing options in the corporate world. Now there are more, yet we still gravitate towards the wrap dress. Why, do you think?

A portrait of Diane von Furstenberg wearing a maxi version of her iconic wrap dress in the 1970s

DvF: Listen, I made the wrap dress, but really, the wrap dress made me. First it was a little wrapped top and then it was a little wrapped top with a matching skirt, and then I turned it into a wrap dress. It’s all about the fabric: printed jersey moulds the body and moves so that you look feline. It looks nice on the body. First, there’s the quality of the fabric, then colour and print, then the style. The style should be very simple: designed, but looking effortless. For a woman to be beautiful there are three things: eye contact, smile and body language.

Read more: The heart of London’s art circuit at the Royal Academy

LUX: Have you ever felt self doubt and had to pick yourself up?

DvF: At least twice a week I wake up and I feel like a loser. You know, only losers don’t feel like a loser, but it doesn’t last. So I constantly question myself. Growing up, I didn’t know what I wanted to do, but I knew the feeling of the woman I wanted to be. I wanted to be a woman in charge. It meant I could travel, I could pay my bills, I could have a man’s life in a woman’s body. And I got that by the time I was 27. Because it was a dress that gave me that, I would go around selling the dress. The more confident I was, the more confident I made millions of women because of a dress. So early on, it became a conduit for me, but I was taking women with me.

A pencil portrait of Diane von Furstenberg for LUX by Jonathan Newhouse

LUX: When have you feel most proud in your career?

DvF: When I was on the cover of Newsweek aged 27 and they compared me to Coco Chanel. And after I sold my company and started again in 1998 and suddenly it was the young girls who grabbed it, I was proud. Recently, I was proud of the exhibition and Venezia – so, things like that. I have such an odd life, such an odd destiny. That’s why your most important relationship is with yourself, and I advise everyone to write their diaries. It’s important.

LUX: How was your relationship with Andy Warhol, who famously made a silkscreen portrait of you?

DvF: About Andy Warhol, everybody asks, “Oh, how was it?” Well, Andy Warhol was very shy. He was not at all an actor. He was a spectator. He would take pictures of you. He would tape you. You know, he didn’t speak very much.

The 16th annual DvF Awards class photo, 2025

LUX: Do you think the fashion world is reinventing itself or doing the same thing?

DvF: Fashion became such a huge business. For 13 years, I was the head of the Council of Fashion Designers of America. Then I resigned. Because with the digital world, it didn’t make any sense to show clothes six months in advance, when everything happens immediately. I just took over my company again – another reinvention. It’s important because DvF has a very strong identity and vocabulary, and it’s important to control the product and the narrative.

Read more: Marcantonio Brandolini d’Adda’s art manifesto

LUX: And having retaken it, is there anything you’d like to change?

DvF: I just want more of it, more of it.

LUX: Which designers have you admired?

DvF: There are many. I grew up with Yves Saint Laurent and Kenzo, and the most talented couturier of all time is probably John Galliano.

“Listen, I made the wrap dress, but really, the wrap dress made me” – Diane von Furstenberg. Photographed by Simon de Pury at home

LUX: Their ethos or their design?

DvF: It’s usually the way they see the woman. It has to do with the woman because, in the end, it’s clothes, isn’t it?

LUX: What is the legacy you’d like to leave?

DvF: Probably for women, I was lucky to become the woman I wanted to be. And I hope I have helped and inspired other women to be the women they wanted.

LUX: I think you definitely have.

DvF: Thank you.

dvf.com

Interview by Candice Tucker

Photography by Simon de Pury

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Reading time: 12 min

A figure reads the world’s news beneath the gaze of the ancient Sphinx, photographed by Maryam Eisler

Egypt is a country on the lips of smart cultural leaders everywhere, with the annual Art d’Egypte fair a contemporary anchor to thousands of years of culture. Across these pages, Rania Al Khalifa writes a paean to accompany a photographic portfolio by Maryam Eisler

Anchored by the long-awaited debut of the Grand Egyptian Museum (GEM), Egypt is currently experiencing a profound cultural renaissance. For me, it was the necessary catalyst for a return visit after a 38-year hiatus, and to take a journey along its ancient river – a chance to see if the country that Herodotus called the “gift of the Nile” still held its ancient magnetism.

Follow LUX on Instagram: @luxthemagazine

Cairo is a city of glorious, productive friction. We began with two nights at the Four Seasons Cairo Nile Plaza, centrally perched and pulsing with the city’s energy. Between the dust-caked majesty of the Giza Plateau and the sleek, limestone-and-glass futuristic designs of the GEM, Cairo offers a short, sharp spurt of chaos that serves as a vital preamble to the Nile’s slower tempo.

They say the light in Luxor hits different; a syrupy, amber glow that seems to emanate from the limestone itself. Landing in ancient Thebes feels like an immediate shedding of the modern world. To truly lean into the romance of the site, one must stay at the Sofitel Winter Palace Luxor. Here the ghosts of former guests Howard Carter and Agatha Christie still seem to linger in the high-ceilinged corridors of a palace that served as one of King Farouk’s favourite winter residences.

Read more: Arch Hades in conversation with Catherine Loewe

While the Big Three – Karnak Temple, Luxor Temple and the Valley of the Kings – are non-negotiable, I recommend veering off the mainstream to include Dendera Temple. It is a place where you realise the staggering breadth of Egyptian theology. Between the tongue-twisting names of Akhenaten and Ahmose, you eventually stop trying to memorise facts and simply start feeling the weight of history. It is a humbling curriculum in human insignificance.

The transition from Luxor to Aswan is best served by a dahabiya. We boarded the Roman by Nour el Nil, a 10-cabin vessel that epitomises rustic chic. This is unabashedly analogue travel: no pool, no gym, just the snap of a sail and the high-touch service of a devoted crew. Sailing on a dahabiya is a study in the melancholic rhythm of the river.

Read more: Marcantonio Brandolini d’Adda’s art manifesto

The pièce de résistance of the south is Abu Simbel. Many travellers omit this due to its proximity to the Sudanese border, but to skip it is to miss the soul of the empire. I have stood in the silent shadows of Angkor Wat and watched the clouds lift over Machu Picchu, but I have never felt as physically and spiritually dwarfed as I did beneath the four seated figures of Ramesses II. Carved directly into the Nubian sandstone, these statues were a definitive line in the sand, a celestial warning that Egypt’s power began here and ended nowhere.

Egypt remains a land where the only thing that moves faster than the Nile’s current is the imagination. A ten-day journey here doesn’t just fill a passport, it recalibrates the soul.

Rania Al Khalifa

 

Photographic portfolio and words by Maryam Eisler

At Gebel el-Silsila, where the Nile slips softly between walls of sun-burned sandstone, the chapel of pharaoh Merneptah (a son of Ramesses II) is carved like a whispered prayer – a son’s quiet claim to immortality. Although less monumental than his father’s structures, Merneptah’s chapel reflects a continuity of royal presence along the Nile and the religious importance of this quarry region.

She stands beneath the ancient gaze of the Sphinx, unfolding today’s news while millennia watch in silence behind her. Smoke curls into the desert sky, and for a moment the modern world drifts softly against the face of infinitude.

At Luxor Temple, a guide stands half revealed between ancient stones, as if emerging from the hieroglyphs that surround him. Suspended between shadow and sunlight, he feels less like a man in passing and more like a messenger from another age.

From the quiet drift of the boat at dusk, the palms rise like darkened lace against a sky still holding the last gold of day.

Beneath the shadow of the Temple of Esna, where the deity Khnum once shaped humankind from Nile clay, a worker bends into the dust as though continuing the god’s unfinished work. In the golden light, his gaze holds the same ancient gravity: earth on his hands, eternity in his stare.

At Giza, the pyramid of the pharaoh Khafre rises from the desert like a flame turned to stone, holding the last light of day as if it were a secret whispered to the ages.

Maryam Eisler

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Reading time: 4 min

Arch Hades, London, March 2026, by Maryam Eisler

Arch Hades’ multidisciplinary practice oscillates between poetry, painting and text-based installation, shaped by existential philosophy and an unflinching engagement with the human condition. She speaks to Catherine Loewe about grief, gender, power and the inspiration behind her most monumental work, unveiled during this year’s Venice Biennale, accompanied by portraits by Maryam Eisler

Catherine Loewe: Your route into the arts was unconventional: you had an earlier career in politics, then published six volumes of poetry. How did the transition into visual art occur?

Follow LUX on Instagram: @luxthemagazine

Arch Hades: It began with failure. I took Art at GCSE, but when a teacher lost my coursework I was downgraded to a grade B. At my academically competitive school, I was told not to bother doing Art for A level or applying to art school, so I didn’t. I did, however, excel in Politics. I took a year out before university to work in Parliament and continued throughout my degree. I didn’t even attend my graduation – I didn’t want to take the day off. I was locked in for years, until I grew disillusioned and decided it was time to try and do something creative. Turns out politics is not that different from the arts. Politics is competitive storytelling.

A studio view of Return, 2025, by Arch Hades

The pivotal moment came when my fourth book Arcadia was illustrated and sold as a digital film at Christie’s for a tidy sum and I was able to set up a home studio. The reward for making art is you get to make more art. I spent the pandemic writing books and re-training as a painter. I was 30 by the time I picked up a paintbrush since my B at GCSE. It’s been a journey.

CL: How has your time in the political sphere impacted your practice? Are you engaged in gender politics?

AH: Oh boy, my whole life is gender politics. Making art as a woman is inherently political because it represents a rejection of the traditional life of silent service, even if the work itself isn’t explicitly political. Some of my poetry does address politics directly – particularly 21st Century Human, which includes a section titled 21st Century Woman on emotional labour and gender expectations.

My visual practice is rooted in existentialism, which I see as a political philosophy. Existentialism insists on responsibility without divine authority: meaning must be made, not received. Historically, as women, we have come so far – once we couldn’t vote, open bank accounts or wear trousers, and that exclusion was normalised. Progress depends on better choices and accountability. I want to see powerful men being held responsible for their actions. There is more to hope and fight for.

Roots, 2025, by Arch Hades

CL: What are your defining moments?

AH: Experiencing loss and grief at an early age. Once death enters your life, it never fully leaves. It’s impossible to explain human cruelty to a child. After profound loss washes over you, all beauty becomes marked by tragedy – by its inevitable impermanence and the knowledge that none of this is ours, we are only permitted to enjoy it for a while. There is a glory in that. It’s a privilege to love what death does not touch.

Read more: Arch Hades’ Return at the Venice Biennale

CL: What do you look for in an extraordinary work of art?

AH: The mysterious and the inexplicable: I’m drawn to works I cannot fully rationalise, those I return to again and again. One of my favourite paintings is Cow Beside a Ditch by Willem Maris. There is nothing ostensibly remarkable about it, yet it feels as though it was painted specifically for me. Donna Tartt describes this sensation perfectly in The Goldfinch as “the nail where your fate is liable to catch and snag”.

The Sea, The Sea, 2025, by Arch Hades

CL: Which artists have shaped your visual language?

AH: The list is ever growing, but I always return to René Magritte, Franz Sedlacek, Andrew Wyeth, Tamara de Lempicka and Francis Bacon – artists who balance precision with unease and return insistently to the human condition.

CL: Who are your favourite poets, living and dead?

AH: Byron, Rainer Maria Rilke, Mary Oliver, WH Auden, Carol Ann Duffy, Joseph Brodsky and Pablo Neruda.

CL: What is your current obsession?

AH: Byzantine iconography. It’s supremely stylised and unapologetically confident: elongated forms, flattened space, strict geometry, repetition of symbols and often bizarre human expressions. In my new series I replace human saints with scenes of nature – a not-so-subtle nod to what we should really be worshipping.

It’s time to return the love I borrowed, Confessions series, 2025, by Arch Hades

CL: Can you describe your working process?

AH: I begin at the end. Whether writing or painting, I visualise the final state before I start. In poetry, I often write the last line first. I first need to articulate to myself what I want the viewer or reader to feel, then visualise the final composition, textures and rhythm before executing the steps. I’m not spontaneous or carefree, I’m a planner.

CL: How do you think about colour?

Read more: Marcantonio Brandolini d’Adda’s art manifesto

AH: I love the drama of monochrome and draw great inspiration from filmmakers like Tarkovsky and Fritz Lang.

Too many colours overstimulate me – orange in particular makes my skin itch. I haven’t worn anything but black for years. Sergei Parajanov’s The Colour of Pomegranates demonstrates how restrained colour, glazed against near-monochrome scenes, can be devastatingly effective. In my own work, I typically introduce only two colours – ultramarine blue-green and alizarin crimson – to pull the eye toward the central subjects of the composition.

I catch myself mourning the present like it’s already a memory, Confessions series, 2025, by Arch Hades

CL: Tell us about Return (2025), the centrepiece of your upcoming Venice exhibition.

AH: Return is a 13-metre-wide, 22-panel painting composed of 63 life-size nude figures, installed across three walls, like an altar triptych. It’s the largest scale project I’ve undertaken and a huge honour to be invited by the Erarta Foundation to show in a beautiful decommissioned church on the Grand Canal.

The work draws inspiration from Gustav Klimt’s lost Faculty Paintings, particularly his vision of bodies drifting through a symbolic river of life. My figures echo Greco-Roman sculpture: they flow, merge and ultimately dissolve into a black abyss at the centre, tracing the full spectrum of human emotion – grief, fear, desire, tenderness. Some are tributes to family and friends; others reference art history – the Three Graces, or Bernini’s Rape of Proserpina in the Galleria Borghese.

Klimt’s Faculty Paintings have a tragic history. Commissioned in 1894 for the Great Hall of the University of Vienna, the panels – on Medicine, Philosophy and Jurisprudence – were destroyed when retreating German SS forces set fire to the building. Only preparatory sketches and photographs remain. That sense of loss, of cultural memory erased feels profoundly relevant.

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

CL: You’re also presenting Sphinx, an interactive sculpture that integrates visual art and poetry.

AH: Every sculpture begins with a poem. I look for ways to materialise language as a physical object, using acrylic polymer and mirrors to explore reflection, transparency and opacity. Debuting Sphinx in Venice feels fitting. I loved the riddle as a child, the idea of the self as a traveller passing through time. That question – the nature of being human – runs through everything I do. We labour in webs spun long before we were born, but we can still shape our fate.

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

My optimism comes from lived experience. My mother took us out of a totalitarian environment and into this dream of democracy, where individual choices matter. It is not hopeless or useless.

CL: Text continues to play a central role in your practice. Can you tell us more?

AH: Writing has always sought permanence – from The Epic of Gilgamesh onward. Poetry demands vulnerability, and connection demands authenticity. My Confessions series, which will also be included in the Venice show, draws on decades of journalling. I enlarge handwritten diary fragments onto concrete and marble slabs, transforming private confession into public object. Here, text is not illustrative – it is the work. Sometimes it succeeds, sometimes it doesn’t. It requires vulnerability, but I’ve found that the phrases I was most afraid to reveal are often the ones that resonate the most with audiences.

Return | Ritorno in progress in the studio, courtesy of Arch Hades

CL: We’re living through profound cultural and political shifts. How do you situate yourself within this moment?

AH: I hate that we are transitioning from nature as our host of life to mass technology as our environment. That’s what Arcadia, my fourth book, is about. We risk losing something ancient and essential in the process.

CL: Which artwork would you live with, if you could?

AH: Malevich’s Black Square, displayed in the corner as originally intended. It articulates one of my central philosophical positions: the rejection of religious authority and challenging tradition that ultimately celebrates existentialism. I don’t believe I should own it – but perhaps I could borrow it?

CL: If you could have lunch with anyone you admire, who would it be?

AH: Goodness, there are so many people I look up to. Living: Maria Ressa, Anne Applebaum, Maia Sandu. And dead: Jane Goodall, Ruth Bader Ginsburg, Mileva Marić.

I’d like to have lunch with Shabana Mahmood, the [UK] Home Secretary, or Bridget Phillipson, [UK] Minister for Women and Equalities, to persuade them to bring forward policy to create a publicly accessible nationwide register of stalkers, domestic abusers, sexual offenders and anyone convicted of killing their female partner. Up to a quarter of these men are repeat offenders and I believe women should have access to information about someone’s history of sexual violence, if they are considering dating them. This will save lives and is a vital step towards protecting women and girls.

Arch Hades, London, March 2026, by Maryam Eisler

CL: What advice would you give to your 20-year-old self?

AH: Don’t get married. In fact, don’t even date anybody.

CL: What’s something that people don’t know about you?

AH: I’m an ordained minister. I’m not religious, I just enjoy officiating gay marriages.

Read more: A conversation with Claudio Laager

CL: What do you hope audiences take away from your work?

AH: I hope my art and poetry might become the “nail where your fate is liable to snag”. Like reading something you thought only happened to you, only to discover it happened to Byron 200 years ago. That recognition collapses time and liberates suffering and isolation. This is why art matters – because life matters.

Arch Hades’ solo exhibition, Return | Ritorno, runs from 7 May to 30 October 2026 at Scoletta Battioro e Tiraoro di Venezia

archhades.com

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Reading time: 9 min
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