Born in Paris and raised in New York, Laura de Gunzburg is a partner of the exclusive members art club The Cultivist, where she acts as the Global Senior Director and Head of Strategic Development. She is also the Founder and Chair of the Dia Art Foundation’s Contemporary Associates, as well as a Contributing Editor at Cultured Magazine and a Co-Chair at the CFDA Fashion Trust. We put her in our 6 Questions hot seat.

1. Did you always want a career in the art world?

I had no intention of pursuing it really, because it was my mother’s thing. She was involved with Dia Art Foundation and my parents collected art. I don’t think I ever really thought about what I wanted to do growing up. I was a professional equestrian and riding took up a big part of my life, the plan was to go to the Olympics. After getting hurt one year and not being able to ride, I started filling my time with other things that made me realise I had other passions. During my time at The University of Miami, I didn’t want to study art history at first, but then I ended up taking the class and started to fall in love with it. Later on, opportunities presented themselves within the art world.

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2. What are the benefits of joining The Cultivist?

If one is fortunate enough, one should become a member to be able to be presented with the right information and artworks. In the time we live in, we are pushed to consume so much information and it is hard to determine what is worth your time and what isn’t. A recognisable name is often what we gravitate towards, however, in the art world a name is sometimes not enough to ensure that the exhibition is worth one’s time.

An example of the welcome package sent to members of The Cultivist

At The Cultivist, we edit and streamline everything the world has to offer. We help facilitate on the member’s behalf by presenting them with the information we believe they can benefit from. There is nothing commercial at The Cultivist. We organise private visits and book amazing curators and speakers to come and speak to our members. The Cultivist currently has offices in London, Brussels, Los Angeles, New York and Shanghai. We can help our members from any of these cities and one does not have to travel to make use of the membership. In London alone, we have four events every month which can be anything from a collection visit to a private studio tour. For example, we have previously done a pottery class with a ceramic sculptor and a private tour of the Da Vinci collection with the Queen’s conservator at Buckingham Palace. In Los Angeles, we have organised a private visit with the image archive at the Getty Centre, where they pulled out photographs for the members to see.

3. What does a normal day in your life look like?

Every day is very different. A big part of my job is engaging with new and prospective members at The Cultivist. I also engage with existing members, work on new opportunities, see new exhibitions and speak with partners for future collaborations. I am based between New York and London, travelling between the two cities.

The Cultivist organises private visits to exhibitions and museums for their members

4. What do you wish to see more of in the art world?

I long for people who would speak more about the experience rather than the value of an artist or an art piece. There is an extensive amount of eagerness in regards to being market-driven. Art can often be seen as unapproachable. I believe art should be more about the experience and less about the value.

Read more: Photographer Koto Bolofo & Connolly celebrate Goodwood’s glamour

5. Who are your favourite artists at the moment?

In my personal collection, you can find Conrad Shawcross, Matt Connors, Louise Bourgeois and Sam Moyer. Another artist that I love is Wayne Thiebaud, he’s currently on my wish-list.

6. Where do you see yourself 10 years?

I see myself having my own business. The Cultivist will always be my baby as I am a partner of the company. However, I do want to build something of my own, something that stems from my own idea. I love connecting people and putting people together. That is what I am good at. I can see myself starting something related to that idea.

Follow Laura on Instagram: instagram.com/ldegunzburg

Interview by Andrea Stenslie

Installation shot from the Koto Bolofo x Connolly Goodwood style exhibition

Ahead of this weekend’s Goodwood Revival, an exhibition of photographs by South African photographer Koto Bolofo celebrating the glamour of the famed racetrack opens  alongside the launch of a new motorsport inspired capsule collection by British fashion brand Connolly

We are brought back to the track as it once was in Koto Bolofo’s photos of the Goodwood Revival. The South African photographer documented the race where vehicles from the ’40s, ’50s and ‘60s are revived, reliving the excitement, glamour and romance of Britain’s leading racing circuit. The collection of silver gelatin prints capture the curved, voluptuous car bodies, the drivers and mechanics bent over engines and meeting in the cockpit, encapsulating the beauty, style and danger of motor racing in the most intimate manner.

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Here and above: images by Koto Bolofo

Bolofo is known for his romantic approach to photography. Part of his process is to visit and become familiar with the locations and people that he will be shooting, claiming that he wants himself and the location to ‘grow as friends’. His work at Goodwood is no different, having previously worked at the track on a shoot for Italian Vogue in July 2004. His monochromatic, low and close shots invite us into the private world of drivers and their teams.

Read more: Mustafah Abdulaziz wins 2019 LOBA photography award

Here and above: images by Koto Bolofo

Alongside the exhibition, British fashion brand Connolly will launch a new collection this Autumn celebrating the heritage of motorsports. The timeless fabrics and tailoring of Goodwood’s drivers, mechanics and spectators are the inspiration for the capsule collection, which incorporates leather goods and cashmere knits.

Rosie Ellison-Balaam

The ‘Connolly x Koto Bolofo’ exhibition runs until 2 October 2019 at Connolly Townhouse, 4 Clifford St, Mayfair, London, W1S 2LG. The ‘Connolly x Goodwood’ capsule collection is launched on 13 September 2019.

For more information visit: connollyengland.com/koto-bolofo/

From the ‘Water’ series by Mustafah Abdulaziz

American photographer Mustafah Abdulaziz wins the 2019 Leica Oskar Barnack Award with his eight-year project exploring the world’s water crisis

Earlier this week, New York-born photographer Mustafah Abdulaziz was selected from 2,300 entries as the overall winner of the prestigious Leica Oskar Barnack Award. His winning photography series Water is an eight-year project documenting the global water crisis and illustrating how different cultures connect with water. Supported by the United Nations, WaterAid and the WWF, the series captures our day-to-day interactions with water from washing and swimming to a picnic on an island in China and the dry riverbed of the Ganges in India.

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Here and above: images from the ‘Water’ series by Mustafah Abdulaziz

‘If an individual walks away from my work and feels closer with their world and perhaps has feelings of empathy towards it, then I’ve done something that is at direct odds with the overwhelming stimulus of our self-concerned age,’ commented Abdulaziz.

From the ‘Water’ series by Mustafah Abdulaziz

Read more: Olafur Eliasson’s powerful and sensory exhibition at Tate Modern

The LOBA Newcomer Award for photographers under the age of 28 was presented to Nanna Heitmann for her project titled Hiding from Baba Yaga. The series documents Heitmann’s journey along the Yenisei river in Siberia and takes its title from a Slavic folk story character, Baba Yaga, the dangerous and unpredictable witch who lives in a hut in the depths of the forest. Filled with images of wild landscapes and rituals, the series is an exploration not only of local riverside life, but also of the region’s mythic tradition.

Here and above: images from ‘Hiding from Baba Yaga’ by Nanna Heitmann

The entries of all twelve finalists will be exhibited at Berlin’s Neue Schule für Fotografie Gallery from 26 September – 25 October 2019, before travelling to Leica’s galleries across the globe.

For more information visit: leica-oskar-barnack-award.com

Beauty, Olafur Eliasson (1993)

Standing in front of Olafur Eliasson’s Beauty, a shimmering mist suspended by light, is both a grounding and unsettling experience. While the serenity of a rainbow is amplified when viewed in focus, the presentation of this phenomena in isolation provokes an eerie sense of time frozen. Similarly, Moss Wall, the 20m wide mass of breathing Scandinavian reindeer moss, offers a magnified impression of its intricate and abundant surface. However, its preservation around wire mesh in the white cube space of a gallery is a sombering reminder of the fragility of the natural world. This exploration of time, atmosphere and nature is at the core of Eliasson’s work, along with an unwavering determination to protect the planet. He returns to the Tate Modern with his retrospective In Real Life following Ice Watch at the end of last year, which saw 24 blocks of Greenland ice melting in the London winter sun.

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Din blinde passager, Olafur Eliasson (2010). Photo by Anders Sune Berg

However, climate change, as the show demonstrates, isn’t Eliasson‘s sole preoccupation. The Danish-Icelandic artist is also fascinated by manipulating perspective. One whole room is dedicated to his kaleidoscopes, whilst In your uncertain shadow uses colourful beams of light to multiply the viewer’s silhouette in a huge projection against the gallery wall.

Big Bang Fountain, Olafur Eliasson

In perhaps his most powerful piece, Din blinde passager visitors enter a 39 metre passageway filled with dense, luminescent fog. With an inability to navigate visually, you become intensely aware of the other senses: the damp air on your skin, the sweet taste of vaporised food colouring and the sound of disembodied voices. You emerge exhilarated by the shared sensory experience and with a renewed focus on your body. It is in moments like these that Eliasson’s work is at its most powerful and transformative.

James Houston

Olafur Eliasson: In Real Life runs until 5 January 2020 at Tate Modern, London. To book tickets visit: tate.org.uk

Once owned by renowned gardener William Robinson, Gravetye Manor is famed for its beautiful grounds

Why should I go now?

The English countryside is at its most beautiful in the final few weeks of summer; leaves are turning golden, mornings are bright and fresh, and the evenings are still long. Nestled within a thousand acres of lush fields and wild gardens, Gravetye Manor offers a serene escape from city life.

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What’s the lowdown?

Once the home of celebrated Irish gardener William Robinson, Gravetye is a grand Elizabethan manor house with gardens easily as beautiful and varied as those at the neighbouring estate of Wakehurst (Kew’s offshoot). It’s an hour from London by train and close by to several National Trust properties as well as a vintage railway. Unsurprisingly then, the hotel tends to attract an older crowd; most guests have been coming to the hotel for years, which gives the whole place a homely, relaxed feel.

Gravetye Manor sits amidst a thousand acre country estate

Times are changing though. Last year saw the opening of the hotel’s new, ultra contemporary  Michelin-star restaurant The Dining Room. The space, much like head chef George Blogg‘s menu, focuses on the natural surroundings with wall-to-ceiling windows and tables positioned right up against the glass. At night, the gardens are prettily light by bulbs.

Read more: Why we love Hublot’s ‘Cruise’ collection

The Dining Room, Gravetye’s one Michelin-star restaurant

The restaurant’s tasting menu follows the concept of ‘Time & Place’ with a series of small, delicate dishes inspired by the estate’s various locations such as it’s bountiful walled garden (in summer this garden supplies 95 per cent of the hotel’s fresh produce). Amongst our favourites were scallops cured in pickled elderflower, turbot with lobster bisque and caramelised white chocolate with apricot.

‘Walled Garden’, one of the dishes from tasting menu with a confit egg yolk, flowers and vegetables

Although facilities are somewhat limited, there’s a croquet lawn and several cosy lounge areas for relaxing with a book. Reception supplies laminated maps of walking routes varying from one to four hours (including suggestions of pub stops along the way) and the staff are refreshingly unstuffy.

Getting horizontal

Throughout the hotel, the style is classic grandeur with wood panelled walls, thick drape curtains, padded window seats and plush sofas. Our room, Holly, was at the front of the house with stunning views of the green, sloping countryside and a huge four-poster bed. The bathroom was spacious and understated with piles of fluffy towels, a bathtub and shower. The welcome bowl of freshly picked strawberries felt wholesome and down-to-earth.

Holly, one of the hotel’s Exclusive Deluxe Double rooms featuring a four-poster bed

Flipside

It’s a shame there isn’t the option of spa treatments, but that said, there is also something rather lovely about Gravetye’s homely, more grounded approach to luxury.

Rates from: £650 for an Exclusive Double Room during the summer months (approx. €700 /$750)

Book your stay: gravetyemanor.co.uk

Millie Walton

Installation view of the ‘What’s Up’ exhibition curated by Lawrence Van Hagen in Hong Kong

Lawrence Van Hagen set out to start a travel tech company, and somewhere along the way, ended up curating a successful series of art exhibitions dedicated to supporting emerging artists. Now, Van Hagen runs LVH art, a business dedicated to helping clients navigate the international art market. Here, we speak to the entrepreneur about his unexpected career path, his favourite places to see art and how to start building a collection.

Lawrence Van Hagen

1. Can you tell us more about the What’s Up exhibitions and how you found yourself in the role of curator?

I started a travel start-up and in order to raise funds for it I decided to curate an art show. I wanted to curate a show since my family is in the arts. My mother has her own art foundation, collects, curates exhibitions and writes books on art. We decided to curate a show called What’s Up based on what’s up today in the art world with a focus on artists to look out for, whether they are young or established. We had the first show in Soho, New York with two spaces, 50 artists and 100 artworks. The next show turned out to be even more successful than the first.

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We have now had shows in New York, London, Hong Kong and Seoul. I work closely with my mother. It’s more my project, but my mother gives me a huge amount of advice and help. It is nice to be able to bounce ideas off one another. The good thing about working with family is trust, you know for sure with family. My mother has kind of been my mentor and taught me what I know today since I didn’t go to art school. However, since I was a kid I was immersed in the arts and always lived with art which led me to start started collecting at a young age.

2. Do you see yourself as a mediator between established and new artists?

A big thing I do with the shows is I tend to bring emerging artists or mid-career contemporary artists together with very well known names. I blend them and create a dialogue between both. I find similarities in inspiration, historical aspects, colours or medium between the established and emerging artists. I do the shows this way since I think that it is interesting and I believe that in order to attract people to a show with emerging artists, you need work by household names as well. Also, when you have younger artists at a show, it keeps the older generation more current. This way of curating shows has enabled me to have a client base from 20 to 80 years old. The older collectors have the most amazing collection of well known artists but now consider acquiring work by a young artist from the shows. I have noticed that the public enjoys shows set up this way.

3. Do you buy art for its beauty or as an investment?

My taste is very classic, I tend to focus on art that is more beautiful than conceptual. However, one thing I tell everyone including myself is to focus on buying what one likes. Whether it is beautiful work or not, it is important to know that you love the work. Second, it’s important to consider investment. For me, it’s a factor of the acquisition in my collection. If it is a very young artist, I tend to not look at it. However if I spend a certain amount of money, it has to have an investment purpose. I will not just spend a big amount of money on something I like, it has to also be of value and something I believe in. One thing to know about the shows I do is that many of the artists we showcase are artists that my mother and I collect. I love to promote the artists from my shows. Lastly, it is more important for people to find what they like, than to have an advisor tell them if what they like will be a good investment.

Artworks featured in one of the ‘What’s Up’ by artists Franz West, Stefan Bruggemann and Lucio Fontana

4. Which artists’ work do you have at home?

I have a selection of young and old artists. I have beautiful work by Georg Baselitz, who is a well known German painter and sculptor. I have two works by a young artist Donna Huanca, who is based in Berlin. She is an incredible artist, who just did a show at the Belvedere Museum in Vienna. In my entrance, I have a work from the 90s by the American artist Robert Rauschenberg. I have work by Sean Scully, Stefan Bruggemann, Stanley Whitney and George Smith. In the bedroom, I have a beautiful 60s Kenneth Noland. There’s a lot more too.

In my house, I mainly have contemporary work, but with simple classic older artists. Most of the younger artists are a part of my collection and the other work is from my mother. I tend to borrow as well. I always move the artwork around in my flat to create a different aesthetic. I am lucky because the ceilings in my apartment are very high which is rare in London, so I can hang up 3 metre work. It is important for me to keep a lot of art in my house since it is my passion and profession, and I also throw dinner parties where friends come over and they can see what I do. A few pieces of art makes a big difference to a home.

5. Best place to see art in London?

It depends what type of art you are looking for. In terms of galleries, if you want to see more established artists or big shows, all the major galleries from David Zwirner and Gagosian Gallery in New York to Simon Lee in London are great. In London, if you want younger artists, it is good to go to the east end or south of London where you have Carlos Ishikawa and Emalin gallery. When it comes to museums, my favourites are Tate Modern and Whitechapel Gallery for contemporary art. Tate Britain and Royal Academy are also great. Auction houses always have incredible work. If you are not looking for a curated show and you just want to see beautiful paintings, I would recommend the private view before sale at Christie’s, Sotheby’s and Phillips. The auction houses have anything from contemporary to established and renaissance pieces. Lastly, to be honest the number one place to see art in London is in people’s homes. Often artists have incredible work in their homes since they trade with people they know.

6. As travel was your first business venture, what’s your next destination?

My next big trip is to Indonesia. I want to visit the Raja Ampat Islands on New Guinea. I also want to see the Komodo Islands with the Komodo dragon when I am there as it is close by. I travel every week as it is part of my work and I love it. I get to see many beautiful places on work trips, however it is still work for me. Therefore, my personal travels are very meaningful and I like to travel quite far to experience something different. My last big trip was to the North Pole. I like to do adventure trips. I am not a very resort-y person, but I always make sure the adventures are mixed with comfort. If anyone needs a travel guide, I am the guy to ask!

Follow Lawrence Van Hagen on Instagram: @lawrencevh

Interview by Andrea Stenslie

This weekend Hublot’s high altitude polo tournament returns to the Swiss resort of Gstaad

Gstaad annually plays host to the world’s ‘highest’ polo tournament, Hublot’s prestigious Polo Gold Cup in which four world-class teams battle it out for the winning prize of Hublot’s Big Bang Steel Ceramic watches. This year will see Clinique La Prairie, Gstaad Palace and Hublot‘s teams try to overthrow last year’s victorious captain Cédric Schweri (the Swiss restaurateur) and his Banque Eric Sturdza team who have been unbeatable since 2017.

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Meanwhile, spectators will celebrate in style sipping at glasses of champagne or bottles of bottom-fermented Swiss beer against the backdrop of the snow-capped Alps. For VIPs, there’s the Gala Night dinner, and exclusive closing lunch, followed by the finale and an afternoon prize-giving ceremony hosted by LVMH watches CEO (and LUX columnist) Jean-Claude Biver.

All photography by Kathrin Gralla at the 2018 tournament

The Hublot Polo Gold Cup runs from 22 -25 August 2019. For more information visit: polo-gstaad.ch

Model and founder of Metizo chocolate, Avril Guerrero. Instagram: @_avril_guerrero

LUX contributing editor and model at Models 1, Charlie Newman continues her online exclusive series, interviewing her peers about their creative pursuits, passions and politics

Charlie Newman

THIS MONTH: Having already modelled for twelve years, Avril Guerrero has enjoyed a longer career than most. She has appeared in campaigns for the likes of Victoria’s Secret, Moët, Uniqlo, Avon and Garnier, and has recently launched her own organic chocolate company Metizo. Here, she chats to Charlie about the lessons she’s learned from the fashion industry, running a start-up and tackling issues of sustainability.

Charlie Newman: Firstly, please can you tell us about your childhood and your journey into modelling?
Avril Guerrero: I was born and raised in the Dominican Republic until I left to work in New York aged 16. I went to New York literally the day after my high school graduation never to live in the Dominican Republic  again. I got into modelling through my cousin who was an actor at the time at home. He put me in contact with my first mother agent in the Dominican Republic, who then put me in contact with US agencies who I later signed with. I was with MC squared for 10 years, they were like the family to me. They were the perfect agency to start my career with and now I’ve moved to Fusion, who I signed with about two years ago.

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Charlie Newman: How did you find moving to New York?
Avril Guerrero: The contrast was huge. Honestly, I think there’s something about being so young, you don’t think about things so much. It wasn’t as big a cultural shock as you would expect. If I had to do that again now, it would probably be a much bigger shock, but at the time it just felt right, it was so much fun! The funny thing was that I didn’t even speak English! But it was great because I was so bubbly, thinking back I was just smiling all the time. It was impossible to book me a job where I wasn’t smiling, I wouldn’t have known what to do! I don’t really remember being particularly anxious or nervous.

Charlie Newman: Were you always interested in fashion?
Avril Guerrero: My family aren’t into fashion at all, they’re far more focussed on sports. In fact, all of my aunts on my dad’s side are basketball players, two of which are in the hall of fame in the Dominican Republic for basketball! Fashion wasn’t necessarily something I was seeking, it just happened.

Instagram: @_avril_guerrero

Charlie Newman: What have been your career highlights so far?
Avril Guerrero: I’m embarrassed to say that I don’t really know. I feel like I’ve had an extremely steady career. I’ve never had that career where you’re suddenly thrust into the spotlight with one big job. I’ve had a very progressive career always in more commercial realms. In Paris I do mostly beauty and luxury jobs, but in New York more consistent commercial work. Never a big boom which is good because it’s been progressive and never gone down, well not yet!

Charlie Newman: What advice would you give to any young aspiring models?
Avril Guerrero: Models need to be smart in the sense that it is important to know that this job isn’t going to last forever. The one thing I’ve seen in common with a lot of younger girls is that they don’t understand that this is such an unreliable career and whilst it may go on for as long as mine has, I have to be honest that I don’t see the same girls now as to when I first started working. Also you have to know your purpose: why are you doing this job? For me modelling is a mean to get financial security and is an opportunity for me to travel the world, but that doesn’t have to be the same for everyone, we all have different ambitions. I think it important to be clear about what you want from this job.

Charlie Newman: What has modelling taught you about yourself?
Avril Guerrero: I’ve been thinking about this a lot lately. To do something for 12 years, has made me think: wait, what have I actually done in all that time? The one thing that modelling has taught me so much is my own strength. It’s shined a light on the capacity of my strength to be self sufficient because I have to travel so much and be alone in all sorts of places, and [it takes strength] to be thrust into so many new places at such a young age. It really takes everything you’ve got, not to just get through them, but also to learn. Modelling has definitely made me a stronger person, purely by being so exposed.

Read more: OMM’s Creative Director Idil Tabanca on creating an art institution

Guerrero’s chocolate brand Metizo

Charlie Newman: How did your organic chocolate company Metizo come about?
Avril Guerrero: My father is an agriculturalist in Dominican Republic and my grandfather had a big farm, which grew cacao and coffee. When my grandfather died around 12 years ago, my family didn’t want to have to deal with the farm anymore because it was a lot of work so thought about selling it, but I really didn’t want them to. Somehow I managed to convince my boyfriend and myself to buy this big farm in the Dominican Republic even though we’re based in Paris and in New York!

We both love cacao and chocolate, and he already works in the wine industry so we decided to use our tools and experience by launching a chocolate company – it’s brilliant! We’ve had the farm for three years now, where we employ three people full time and then during harvest season between 15 to 20 people depending on the yield that year. Then in Paris it’s just my boyfriend and me! We have a library of 15 flavours that we have mastered, but at the moment we are only producing four of them. It’s mostly dark chocolate and for now, we only do direct sales through pop-up shops, online and private events. We also offer classes called ‘bean to bar’ where we teach everyone about the whole process and give them the opportunity to make their own bar.

Charlie Newman: What has it been like setting up your own company?
Avril Guerrero: Extremely challenging, especially because we’re trying to manage people who live in a different country and in a different culture. I might have grown up in the Dominican Republic, but I grew older in New York and in Europe. As a result, I think my mindset is no longer in tune with the in the Dominican Republic, when it comes to business at least. So it’s a lot about learning how to convey your message and maybe even learn how to bend the rules a little, and I don’t mean that in a bad way at all. There’s a really interesting power dynamic between how to give and how to retain power in order to make things work. So it’s been a big challenge, but to be honest it’s been amazing because I’ve learnt so much about communicational skills as well as about the entire production.

We have complete control over our supply chain which means we can intervene at any moment. I’ve learnt everything about the whole supply chain: how to work the soil, what colour the cacao needs to be, the chemistry behind the fermentation process and how to transport my Dominican Republic bean all the way to France. We harvest and do some post-harvest processes in the Dominican Republic like the fermentation and the drying process of the beans and then the chocolate part of it is based in Paris.

Read more: London to Cornwall in a luxury Mercedes-Benz camper van

Charlie Newman: Is it a sustainable product and business?
Avril Guerrero: That was a big part of the business project. Whilst studying business [at London’s Open University], my favourite class was always sustainability. The whole issue was how in a globalised economy how can we keep the convenience of globalisation and it’s positive effect whilst also minimising the problems it creates. The supply chain is such a big problem because there are so many intermediaries. Transparency is extremely opaque, in cacao it’s really difficult to measure because a lot of the beans come from the Ivory Coast and there is not enough regulation there, so there are many ethical issues. By being able to handle the bad side of the industry ourselves is a huge blessing because we know exactly what is in each chocolate bar, we know how the beans were not only planted, but also harvested. We know our guidelines and we know where we stand and what value we want to incorporate in our company, because at the end of the day this is an opportunity for me to practise what I preach.

I want a more equal society so I’m thinking about how I can do that. I don’t have any public power or governmental power over policies, but now I have the power of a company which is a big lesson for me. Having gone to business school and having my own business portrays the power of the private sector and the fact that change will come from that in capitalist economies. The Dominican Republic may not be the biggest export in cacao, but we are the biggest in exporting organic cacao. It’s still an industry that is growing and becoming more regulated. A lot of the cacao in the Dominican Republic is organic already because of the natural good quality of the soil. We don’t need to treat our soil with chemicals because we don’t have as many diseases as other producers, which has therefore put us in an interesting position within the market.

Instagram: @_avril_guerrero

Charlie Newman: What does Metizo mean and what is the story behind it?
Avril Guerrero: Metizo is a combination of Mestizo in Spanish and Métis in French which translates to bi-racial. Again, I want to use my enterprise and platform to deliver my message and in this case it’s about tolerance. At the time when we started to think about the concept of the brand there was a big issue with immigrants coming into Europe and there was a lot of fear surrounding that. It really made me think a lot, especially as in the countries I consider home – the Dominican Republic and the United States – we are all immigrants, no one is from there. To have that fear about new people coming in is understandable, but at the same time it’s extremely hypocritical because we ourselves are immigrants. Everywhere I’ve lived for the past 12 years, I’ve always been an immigrant. The designer for the packaging, Amandine Delaunay, transformed our ethos into physical design. Each bar has different eyes and mouths on it, so the idea is you can combine a different face with each chocolate bar.

This divide and fear we are all experiencing in some shape or form is a phenomenon that is happening simultaneously everywhere, from Europe to the U.S to my own country. I think it’s really important to understand that no one wants to leave their home for the sake of it, no one wants to embark on a mission and endure the hardship of travelling on a boat not knowing if you’re going to get to your destination. This is not a pleasure trip, you’re moving because you have no choice, you need to leave. We need to cover basic needs, people are dying so we need to be nicer.

Charlie Newman: Are there any stores you would like to see Metizo in?
Avril Guerrero: Our product is more on the luxury side of things, we’re not necessarily trying to sell you another chocolate. We’re offering you something different and sharing an interesting story, it’s never about just delivering another product. Our story is encouraging people to be more tolerant and to look inwards in order to see what we all have in ourselves wherever we are from, whatever our situation. I don’t have a a mission to be in all the biggest stores, rather to be in a few hand-selected stores with a similar objective.

Charlie Newman: Finally, who is your role model of the month?
Avril Guerrero: It’s got to be my family because I think a role model has to be someone you trust. I would never choose someone famous because I have no connection with them, I don’t know the real them. Growing up, I believe it’s more necessary to have role models because you have to start making decisions before having experienced them.

Discover Metizo’s products: metizoparis.com

Follow Avril Guerrero on Instagram: @_avril_guerrero

The Classic Fusion Mykonos is available in two versions, featuring titanium or king gold

Hublot’s latest series of classic fusion chronographs is a celebration of the laid-back Mediterranean lifestyle

Evoking the mood of luxuriously languid days on board a superyacht, Hublot has selected a nautical colour palette for their ‘Cruise’ collection, a new limited edition trio of classic fusion chronographs. The timepieces are named after, and pay homage to the Mediterranean islands of Ibiza, Mykonos, and Capri with varying shades of blue contrasted against striking white and metallic details.

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Hublot’s Classic Fusion Ibiza limited edition timepiece

Ibiza

The dominant colour of the model dedicated to the ‘White Isle’ is complemented by a blue ceramic satin-finished bezel and 45-mm case enclosing the chronograph movement, bound by a bi-material strap in cerulean blue rubber and white alligator leather. Characteristic of the brand’s innovative fusion of materials, these highly resistant and waterproof strap components are beautifully stitched in blue, alongside the polished and engraved back case and matte white dials.

The Classic Fusion Mykonos

Mykonos

Incorporating a similar combination of materials, but with the option of either king gold or titanium, the Mykonos model fully showcases the mechanisms of the watch, revealing the inner workings of the self-winding chronograph movement. Sapphire crystal sits at the centre of the dial, reflected in the Aegean blue lacquered small seconds hands and matching blue ceramic bezel and strap. The most striking element comes in the form of a small rotating windmill aligned at three o’clock, distinguishing the model with the island’s iconic attractions.

Read more: OMM’s Creative Director Idil Tabanca on creating an art institution

The Classic Fusion Capri

Capri

The most relaxed of the three models, the Capri watch is decidedly lighter in colour with a sky blue satin-finished dial housed in a ceramic case of the same bespoke blue. The white lined rubber strap adds a touch of sporty chic, bringing a different dimension to this easy-to-wear collection.

Chloe Frost-Smith

For more information visit: hublot.com

Inside OMM designed by Kengo Kuma & Associates. Photo by Batuhan Keskiner

This September will see the opening of Odunpazari Modern Museum (OMM), a major new art museum in Eskişehir, Turkey. Designed by architects Kengo Kuma and Associates, the museum is the brainchild of art collector Erol Tabanca, whose collection will provide the permanent exhibition, and his daughter Idil Tabanca who sits at the helm as Creative Director. We speak to Idil about her multidisciplinary approach, creating an international cultural destination and the challenge of bringing contemporary art to new audiences.

Idil Tabanca. Photo by Emily Hope

LUX: You were one of the founding editors of the successful New York-based art and fashion magazine Bullett – do you see yourself primarily as a journalist?
Idil Tabanca: No, not at all. I studied digital media because I always thought I was going to go into film. I wanted to do set design, production design, that kind of thing. Growing up that was my dream. I just wanted to make stuff. After I graduated, I worked in film for a couple of years on various projects in the US and then I was called in to do production design for a film in New York and that’s where I met the people I ended up setting up the magazine with. We just fell into, it was very organic and we didn’t have any money so we became our own publishers because we had all this great content that we wanted to put out. There are so many stories which aren’t at all luxurious like we would get our friends to dress up as catering staff for the cover shoot of some Oscar winning actor. We didn’t have the money to hire actual caterers but we wanted to keep up the appearance. It was like the con that didn’t end.

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LUX: And you’ve gone from that to being the Creative Director of OMM.
Idil Tabanca: Well yes, and this is a very different project because for starters, it’s my family’s foundation. My father [Erol Tabanca] started collecting art about thirty years ago. It started out just as a pure love for art and the pleasure he got from it, there was no strategy involved. He was buying what he wanted to buy. As time progressed, he filled up his house and then his entire office, he didn’t have enough room for the art and he also wanted to share the works that he found so inspiring so he started the foundation. That was around the time I was closing the magazine because the internet happened. It happened to the world. So many magazines were closing. The museum is a great opportunity because if I was at another institution like this, it would’ve taken me a really long time to be here. I felt like there could be an opportunity for me to have a voice, to have a say for the young people that needed this kind of a platform back in Turkey.

I feel like there’s huge potential in Turkey for artists, but not necessarily any organisations and platforms. The exciting part of the project for me is that I can actually give young people that opportunity.

Erol & Idil Tabanca pictured outside the museum. Photo by Gökhan Polat

LUX: Have you always shared your father’s passion for art?
Idil Tabanca: It was part of the magazine: we covered art, fashion, culture and cinema. I have always been interested in video and photography because of my studies, but I don’t have this amazing knowledge of art history or anything like that. It wasn’t part of my education so I’m learning that part now. Even just getting familiar with the art collection is a huge amount of work. I feel like I’ve got a good sense of aesthetics, but I’m learning the rest. I’m exposing myself to a lot of art, I read a lot, go to a lot of exhibitions.

Read more: London to Cornwall in a luxury Mercedes-Benz camper van

LUX: Can you tell us more about your concept for the museum?
Idil Tabanca: We’re from Eskişehir as a family and people from Eskişehir are very proud because it’s like a secular, intellectual, very young and fun town in Turkey. It’s very unique. They say it’s like a European city in Turkey. People are very open minded and because of that, there’s a huge potential for young people. There are also three art universities. My father has always felt that he wanted to give back to that community in some way.

We chose Kengo Kuma, whose work is so iconic, to make the museum iconic. Bilbao was an industrial city before the Guggenheim came and now it’s known as an art destination; I think Eskişehir has that same potential. For a long time in Turkey because of the regime and what’s happened there, there hasn’t been a lot of exciting developments. We also don’t have a huge museum culture. I don’t have any memories of going to museums with my family. I love that we might be able to change that for some people, and to change the place. Having a museum like this, starts an exchange, it becomes a bridge between cultures. For example, we have Kengo Kuma’s work  and we have Japanese artists who are showing. We want different cultures to be able to merge in the space.

Photo by Batuham Keskiner

Photo by Batuhan Keskiner

LUX: We hear that the museum is also going to have a strong connection with fashion, is that right?
Idil Tabanca: Yes, I want every aspect of the museum to be like an art work in its own right and I’ve got Turkish fashion designer Dilara Findikoglu to design the uniforms for the museum staff. She’s blown up recently and dresses people like Madonna. I think that she’ll be the creative director of somewhere like Alexander McQueen very soon. But the reason for collaborating with her was, firstly, to challenge people. She is completely embraced internationally and keeps winning fashion awards, but in Turkey I feel like it’s part of our culture to be suspicious of anything that’s actually good and we do that to artists too. We don’t appreciate them at home as much as you do in Western culture. In Turkey, there’s no sense of protecting the things that are valuable and that’s the same with ruins even, you’re just allowed to walk all over the place. So I want to work with and give value to artists and designers from our communities that are doing really well outside of the country. That’s the reason we’re putting together a homecoming show to start a dialogue about who we are as a culture and why we don’t appreciate these people or talk abut them. We have local celebrities, but they’re not the people who are making a difference in the world.

‘Sleeping Girl’ by Hans op de Beeck is one of the artworks in the permanent collection. Photo by Kayhan Kaygusuz

LUX: And how will the exhibition programme work?
Idil Tabanca: We have the permanent collection, which will constantly change and be curated by different people and then we’ll have travelling shows and events. Exhibitions by other artists who have nothing to do with the permanent collection. For example, we’re bringing work by Marshmallow Laser Feast (who recently had a VR experience at the Saatchi gallery) to the opening. They’re really interesting because they use technology to bring people back to nature – I’m really excited to collaborate with them. Also the other part which will be so exciting for me is that we’ll get people coming to the museum who haven’t been exposed to anything, we’re going to get such a raw audience.

One of the selected works from the opening exhibition: Uyuyan Adam (2010) by Ramazan Bayrakoğlu. Image by Ozan Cakmak

LUX: What are local attitudes towards contemporary art? Is there much of an existing art scene?
Idil Tabanca: Yes, there is definitely an art scene. There’s a tiny wooden museum, glass blowing is huge and there are lots of little shops that make ceramics. There’s part of the town which is all these old houses, which look like they would have hundreds of years a go. There’s a wax museum, which is hilarious because no-one looks like they’re supposed to, but it receives 11,000 visitors on the weekend, which demonstrates the lack of cultural activities. But yes, we’re in talks with the art universities. We want to have residency artists that come in from abroad and to give them access to the facilities. We’re also going to organise discussions and education programmes. There’s the only animation studio in Turkey there so there’s definitely a lot of potential.

Read more: Savoir Beds’ MD Alistair Hughes on the value of craftsmanship

LUX: Are there any contemporary Turkish artists that you’re particularly excited about at the moment?
Idil Tabanca: Nilbar Güreş’ work is phenomenal. She’s based in Vienna. Another one of my favourite Turkish artists is Sukran Moral. She’s definitely someone I’d love to bring [to the museum] sometime in the future. She’s pretty established and is currently based in Italy.  She’s fantastic. Also Fatma Bucak is another young Turkish artist that I’d like to bring to the museum. She has some wonderful videos.

‘Aylin’ (2014) by Sinan Demirtaş will also feature in the opening exhibition. Image by Kayhan Kaygusuz

LUX: How much of a consideration is sustainability?
Idil Tabanca: The building is made from sustainable forests, and we are trying to make it all as sustainable as possible, but in a place where that dialogue hasn’t started yet, it’s going to be tougher for us. So we have this task of talking to people and explaining to them why it’s important, why we’re not giving out plastic bags for example. I think it’s the responsibility of institution like ours to be a leader on these kinds of things.

LUX: Lastly, for first time visitors to Eskişehir, what are your hot tips for things to do and see?
Idil Tabanca: Oh my god, there’s so much to do! There’s a really good thermal spa. Then there’s also this fake Disneyland that I think is fascinating. You go and Snow White has her wig on sideways, it’s just a very weird place. The old part of town too where they have all these really cute houses and artists with their own little studios and shops selling handmade things. The area is called Odunpazarı, and it’s so beautiful. The museum is right in the middle of everything so the best way is to just walk around and discover the area.

OMM will officially open in September 2019, for more information visit: omm.art