Display of Van Gogh sunflower paintings
Sunflower painting by Vincent van Gogh

‘Sunflowers’, Vincent van Gogh, January 1889

One of the world’s most famous paintings Sunflowers (1889) has been carefully investigated, explored and restored for Van Gogh and the Sunflowers: A Masterpiece Examined at the Van Gogh Museum.

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As one of five sunflower paintings by Van Gogh, it is an iconic image of nineteenth century art and an important marker in still life painting. Yet, this latest exhibition transforms our view of the work by framing the masterpiece within its wide ranging and complex history.

Display of Van Gogh sunflower paintings

Installation image of ‘Van Gogh and the Sunflowers’ at the Van Gogh Museum, Amsterdam. Photo by Jan-Kees Steenman

On display are Van Gogh’s other flower paintings (not all sunflowers), the afterlife of the painting, its far-reaching influence, but also details of its recent conservation work. Most striking are the reconstructions by Charlotte Caspers, smaller canvases which copy views of the painting, using the same materials. These zoomed in views of the dying flower heads and of Van Gogh’s signature reveal the painting’s original colours, made up of brighter reds, pale lilacs and vivid chrome yellow. Through Casper’s work alongside the museum’s conservation team we are transported back to 1889 and the work’s conception. We are also shown x-ray images of the Sunflowers, revealing an added strip of canvas at the top of the painting, which Van Gogh used to correct the placement of the vase.

Read more: Sir Rocco Forte on building his empire of luxury hotels

Artist at work in the studio

Artist Charlotte Caspers painted reconstructions based on the results of research into the original colours of Van Gogh’s ‘Sunflowers’ in the Van Gogh Museum, 2019

Sketches of sunflowers in a sketch book

Vincent van Gogh, Sketches of vases with sunflowers, in sketchbook from Paris and Auvers-sur-Oise, 1890, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). Photo by Petra and Erik Hesmerg

 

Standing in front of the painting, you are struck by the subject. Van Gogh’s obsession with the flowers evident in his precision and delicacy, each of his decisive strokes visible in the thickly painted surface. The sunflowers, which were first drawn by the artist in 1886 in the wilds around Arles, have become part of his signature, as he stated in a letter to Paul Gauguin in 1889: ‘I indeed … have taken the sunflower’. His affinity with the flower is portrayed in the masterpiece through the subtle use of varying shades of yellow and ochre, and by the way he captures the plant’s lifecycle as we see heads simultaneously opening in bloom and dying.

Rosie Ellison-Balaam

‘Van Gogh and the Sunflowers: A Masterpiece Examined’ runs until 1 September 2019 at the Van Gogh Museum, Amsterdam. For more information visit: vangoghmuseum.nl

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Model leaning over a mirror wearing a red dress and diamond jewellery
Model wears tribal style jewellery

The ‘Black Hawk’ high jewellery collection by Messika

Valérie Messika grew up playing with precious stones. Her father, Andre, was renowned in the diamond industry for decades, but at the age of 25, Valérie discovered a niche in the market: everyday, wearable diamonds. She founded her eponymous brand around this ethos and Messika has since become a favourite amongst celebrities with stores across the globe. Here, we speak to the designer about fashion, Parisian style and designing for men

Portrait of a woman smiling in diamond jewellery

Valérie Messika by David Ferrura

1. What’s your most cherish piece of jewellery?

When I was young, my grandmother, who is one of the most amazing women I have ever met, gave me one of her rings. It is a pear shaped 9.30 carat diamond, it is my favourite piece of jewellery.

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2. How much attention do you pay to trends?

I am a real fashion lover! I get my inspiration from a lot of things, at all times– but fashion and haute couture are one of my biggest sources of inspiration. I find inspiration by walking the streets in Paris and looking at people’s attitude and style. I admire the Parisiennes; they look so chic but always in a very minimal and trendy way.

Model leaning over a mirror wearing a red dress and diamond jewellery

Pieces from the ‘Desert Bloom’ high jewellery collection by Messika

3. What makes a piece of jewellery timeless?

To be timeless, a piece of jewellery must be a mix between classic and contemporary, but always with a twist of modernity.

4. Do you approach designing for men and women differently?

I get my inspiration from people that surround me such as my two daughters, my husband and my father. I also take into consideration feedback from my clients, this is important to me.

Creating for men was about how I see men. Forging a bond between men and women’s jewellery was a real challenge. I have created a masculine interpretation of my iconic collection Move, that combines both power and lightness. The motif of the three moving diamonds is deeply imprinted in me and lies very close to my heart, it stands for the ‘love of yesterday, today and tomorrow’.

Read more: 6 mountain restaurants to stir your soul this summer

5. When you get dressed in the morning, which do you choose first: clothes or jewellery?

I am very lucky as I can change my jewellery every day. I always associate my jewels with my clothes. What I like is stacking bangles by mixing my signature collections, Move and Skinny. I adore wearing jewellery as fashion accessories.

Messika pieces are created to be worn on an everyday basis. Diamonds can be worn every day with a pair of jeans, your favourite sneakers or your favourite jumper!

Diamond earrings hanging on a branch of a tree

‘Wild Moon’ earrings by Messika

6. What’s your favourite jewel other than a diamond?

This is a tricky question as diamonds are in my DNA. This passion is my heritage. But I always have my Audemars Piguet watch that I consider to be like a piece of jewellery.

Discover Messika’s collections: messika.com

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City of zermatt with the matterhorn mountain in the distance
City of zermatt with the matterhorn mountain in the distance

Zermatt in summer with the Matterhorn in the distance. Image by Lorenzo Riva. Courtesy of Switzerland Tourism

Summertime in the Alps is exhilarating and inspiring. The sun (usually) shines, the air is clear, temperatures aren’t too sweltering and you are surrounded by lush pastures and high peaks. The cuisine is varied and uses an array of local ingredients: Alpine herbs, vegetables and fruit, local meats and cheeses. Here, we select six of the best places to enjoy mountain cuisine and sweeping vistas

1. Restaurant Findlerhof, Zermatt

Findeln is an ancient hamlet of dark wooden huts, on a mountainside high above the resort of Zermatt, just above the treeline. On the extensive terrace of the Findlerhof, you have a view across the forests to the magnificent Matterhorn, and you are surrounded by the sounds (grasshoppers, bees), sights (butterflies, wild flowers) and smells of the Alpine high pasture in summer.

Must try: All the food is high-class, simple Alpine quality, but the chocolate fondant is worth the journey in itself.

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2. Hotel Walther, Pontresina

This grand hotel at the end of the pretty high street in Pontresina, across the valley from St Moritz, has a grand dining room that is both grandiose and fun. A modern take on a traditional Alpine palace, it has an engaging holiday dinner ambience and superb wine list.

Must try: the traditional Swiss speciality of veal cooked sous-vide with roesti potatoes and local vegetables.

Interiors of a grand restaurant

Hotel Walther, Pontresina

Plate of food with lettuce garnish

Swiss speciality of roesti, potatoes cooked with bacon and herbs

3. Berghaus Wispile, Gstaad

Wispile is the big, forested green hill that rises above Gstaad, and in summer the restaurant at the top is transformed from a ski lodge to a family-friendly casual diner and farm with petting zoo, with beautiful views over the surrounding region. Kids can be taken on personalised goat petting tours by the local farmer in the neighbouring pasture; some regular human kid visitors have grown up with the kid goat residents over the years.

Must try: the special of the day, often local sausages with a rich gravy and vegetables

Chalet style restaurant pictured in the alps at summertime

Berghaus Wispile in Gstaad

Read more: Geoffrey Kent on the influence of top-earning millennials

4. Avenue Montaigne, Hotel Park Gstaad

Contemporary Swiss chic abounds at the Montaigne, which brings a touch of Paris to Gstaad. This is a place for a long, relaxed dinner, followed by a cigar in the cigar lounge, over cocktails, blending city sophistication with Alpine feel.

Must try: The Swiss quinoa tabbouleh, combining parsley, goji berries, tomato and avocado.

luxury rustic interiors of an alpine restaurant with an open fire

Avenue Montaigne at Hotel Park Gstaad

5. Fuorcla Surlej, St Moritz

The wildest type of mountain hut, Fuorcla Surlej sits atop a mountain pass accessible only by foot, above St Moritz. To one side is a lake and a view over the glaciers, to the other is the deep valley of the Engadine. Hardy mountain food is served here, amid stunning views, on a basic terrace.

Must try: Whatever’s on offer that day – the kitchen makes it up according to the ingredients they can get.

Couple eating by the mountainside

Fuorcla Surlej in St Moritz. Image by Christof Sonderegger. Courtesy of Switzerland Tourism

6. Hornli Hut, Zermatt

Matterhorn mountain

Matterhorn viewed from the Hörnli hut. Image by Isabella Sanai

The Hörnli hut is the base camp for the Matterhorn; climbers arrive the afternoon before their climb, are subject to a strict curfew, and awaken well before dawn to start an ascent that some never return from. Ordinary people can also visit for lunch: it involves a rather vertiginous two-hour climb from the top lift station at Schwarzsee, but no actual climbing. After lunch, walk five minutes up from the hut to the point at which the wall of the Matterhorn starts: a vertical piece of rock with fixed ropes. The views are literally breathtaking. Not a place for the fainthearted.

Must try: The surprisingly excellent (for a place accessible only on foot) pasta al ragu, with rich local ingredients.

Discover more: myswitzerland.com

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Facade of a hotel at night lit with a purple sunset behind
Facade of Le Negresco hotel

Le Negresco hotel is the epitome of the French riviera

Why should I go now?

July is the month the city of Nice, capital of the French riviera, comes alive. Beaches are lively but not yet as teeming as in August, the nightlife is in full swing, the weather is warm and the sea is blue. If only there were a place to rise above it all – oh, wait, there is.

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What’s the lowdown?

Le Negresco is the epitome of the French riviera, with art and glamour at its heart. Whether you’re a fan of Princess Grace or Niki de St Phalle, Dalí or Louis Armstrong, there is something in the hotel to touch you – the grand facade even hides a roomful of street art.

Luxurious classic style dining room

The hotel’s two Michelin-starred restaurant Le Chantecler

Meanwhile you can hone your Riviera as it suits you; there’s live music every night on the Terrace, which looks out onto the Promenade des Anglais, the classic curved boulevard looping along the Mediterranean seafront; or disappear into old-world elegance in the two Michelin-starred Le Chantecler restaurant, with its 18th century grandeur.

Read more: Ruinart x Jonathan Anderson’s pop-up hotel in Notting Hill

Getting Horizontal

There are different styles of room as well as different price-categories. Decor in the rooms is a blend of classical and super-contemporary with suitably artistic touches in fixtures, fittings and funky wall coverings; meanwhile a sea view junior suite transports you to a time when the French riviera was pretty much the only seaside destination for anyone wealthy enough to visit on their Grand Tour, with rich classical furnishings.

Luxurious hotel suite with a balcony and views of the sea

One of the luxurious suites at Le Negresco

Flipside

Nice is a city with a rich cultural programme, and teeming with restaurants, bars, museums, gardens and artisanal shopping. The Negresco is the seafront hotel literally at the heart of it all, so it’s not a place to be if you want to be away from the world. But for a few nights of summer living, we love it.

Rates from: €155 per room ($200/£150)

Book your stay: hotel-negresco-nice.com

Darius Sanai

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Woman walking bare foot along the beach
Woman walking bare foot along the beach

How well do you know your socio-economic and demographic grouping acronyms?

Abercrombie & Kent founder and LUX contributor Geoffrey Kent discusses how a new generation of consumers are influencing brands

How well do you know your socio-economic and demographic grouping acronyms? From the best-known, like Yuppie and Wasp, to the more recent, Sinbad – there seems to be an acronym for everyone.

If you are a frequent reader of my columns here on LUX or if you’re familiar with our luxury travel company, Abercrombie & Kent, you might be forgiven for thinking that we concentrate on attracting Dinkies, Tinkies (two incomes, nanny and kids), Glams (those who are greying, leisured, affluent and middle-aged), or even Rappies (retired affluent professionals), but in fact, we, like all brands, are increasingly turning our attention to the Henrys.

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Nothing to do with the Hooray Henry, this term was coined by Fortune magazine and stands for ‘high earners, not rich yet’, Henrys are those on their way to affluence, but not quite there yet due to high living costs and other factors. While Henrys span both the millennial and GenY generation, it is millennial Henrys, which are of so much interest to entrepreneurs and their marketers for two simple reasons.

Firstly, their numbers: as revealed in an all-important announcement in 2015 from the U.S. Census bureau, millennials (born between 1980-2000) surpassed Baby Boomers (those born between 1946 and 1964) as the largest generation in the U.S. (where this type of research frequently seems to stem from and of interest to me because of A&K’s American offices (A&K is headquartered in both London and Downers Grove, Illinois). Plus there are many, many more of them in comparison to their parents’ generation.

Man standing in front of an ice wall

Secondly, their spending power: from now until 2040, millennials will be entering their prime spending years. They will be the key consumer segment driving the world’s economies.

The millennial generation had its biggest birth year in 1990, so using them as an example, the top 20 per cent Henrys (high earners, not rich yet) born in 1990 earn over $50,000 per annum and the top 10 per are earning more than $75,000 a year approximately. They are well on their way to affluence, and are more educated, better informed and setting the trends that other millennials will emulate.

And with millennials driving economies, as brands try to win their business, millennials will change the businesses and their offerings, thus affecting us all. They are driving what is coming to be called the ‘experience economy’, moving from consumerism towards experientialism (read more about how they are redefining luxury travel here). If you have a subscription to a streaming service and no longer purchase DVDs or boxsets for example, it’s all down to millennials and this trend. If you have noticed more travel companies urging you to experience a destination like a local or learn something on holiday, you now know who the cause is. This isn’t exactly new ground for A&K – we’ve been encouraging travellers to make horizon-broadening connections since the early 1960s – plus ça change.

Read more: Kuwait’s ASCC launches visual arts programme in Venice

Millennials and the Henrys among them are focussed on value, not price point, and interested in feeling proud of their purchases and the things they do. They are design-led, crave authenticity and want for everything they do to be climate positive (or at a bare minimum, neutral). They are the type to choose a travel brand that is philanthropic and does good in the places in which its guests travel (such as A&K). They want a curated experience, that does no harm (i.e. is socially responsible) and that is Instagrammable. They share their experiences in the same way that their parents related theirs at dinner parties.

They are searching for a connection to their communities, other cultures and the world at large. Travel is a practical way to process and respond to an increasingly complex globe.

Thanks to childhoods, lifestyles and the psychology of millennials, they are the ‘Do It For Me’ customer – exactly the type that appreciates a well-travelled and knowledgeable travel expert who will arrange their luxury holidays for them. A match made in heaven? Who knows, but it certainly was a match made sometime between 1980 and 2000.

Discover Abercrombie & Kent’s luxury travel itineraries: abercrombiekent.co.uk

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Luxury hotel interiors of a drawing room with painted walls and soft furnishings
Facade of a grand mansion house

The Rocco Forte Balmoral hotel in Edinburgh, Scotland

Since he created it in 1996, Sir Rocco Forte has grown his eponymous luxury hotel group to include multiple properties in key destinations across Europe, with a major expansion this year within his family’s native Italy. And there are plans for the boutique group to move into the US, Middle East and Asia. LUX’s Editor-in-Chief Darius Sanai speaks to the group’s chairman and founder about new openings, changes in the hospitality industry and what it takes to be a successful entrepreneur
Colour portrait of a middle aged man in a suit

Sir Rocco Forte, Chairman of Rocco Forte Hotels

LUX: Rocco Forte hotels is currently in a period of planned rapid expansion – why now?
Sir Rocco Forte: We had a period of consolidation after the financial crisis and have gradually come out of that and the business profitability increased. We’ve improved the quality of the management team. Generally taking the company forward, it was the right moment to start expanding again and looking at adding additional properties…

There are a huge number of different luxury brands within Marriott. Having said that, I think there’s an opportunity for the niche player somewhere, a business that is much more personalised in its approach to its customers, where attention to detail is extremely important. I think people are looking for things which are more individual, more related to where they are going. They want the rubber stamp wherever they go. I think it is going to get more and more difficult for these big companies to actually deliver that, and for a smaller organisation like mine, it’s easier because the top management is hands on. The business and the detail of business has some advantages.

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LUX: How has the landscape and your business philosophy changed since you started?
Sir Rocco Forte: It’s changed significantly on the technological side, the way people buy hotels in particular is much more a business done through the internet than there was than it was before, there are online travel agents who are becoming quite powerful. Customers are now more inclined to book through the web than going to direct to hotel. Then there’s the social media aspect which is also becoming more important, as a means of communication and promotion of properties. There is an interaction between guests who have tried properties and posted comments and so on. This is picked up by other people and used to validate their choice. TripAdvisor type sites didn’t really exist before and now people use it to make up their minds about hotels. Then you have the back of the house side of things; technologies have come in there and give management a greater ability to know their guests. There is increased technology in the rooms, television, wi-fi. Wi-fi became available 20 years ago and now people complain unless they had the fastest band available in the hotel. People used to pay for wi-fi and now they don’t want to pay for it anymore. Telephones, actual landlines have gone out of the hotels; they are hardly used.

In terms of the actual service side, the principles remain the same. The customer wants to be treated as an individual, wants to feel a warm welcome when he goes into a hotel, wants to be recognised. Maybe the relationship between the customer and the staff members has changed to some degree, it’s become slightly less formal, which is something that we did from the beginning.  I wanted to de-formalise the service to some degree. Then you’ve also got to keep up to date in a hotel because there are things that people have in their own houses that they expect to find at a hotel and it is a competitive market place.

Luxury hotel interiors of a drawing room with painted walls and soft furnishings

The front hall at Brown’s, a Rocco Forte hotel in London. Photo by Janos Grapow

LUX: The marketplace is much more crowded nowadays with new players coming in and there’s Airbnb. What is it that has allowed you to keep going and growing with so much more supply?
Sir Rocco Forte: Airbnb doesn’t really effect the luxury end to any great degree. Airbnb has already started to show problems with consistency. There are plenty of niche players coming in and it does eat into the marketplace, but if you have a well-located hotel and you deliver an excellent service and have a regular clientele that like the place, it’s very difficult to prize a luxury customer away from a hotel that he’s used to and where the staff are trained to his needs. There have been a lot of new openings in London and there are more in the pipeline; there’s always a supply and demand equation. I think you’ve got to try and distinguish your hotel group from others and make a potential customer feel that they will get something special, something different if they come to you. The staff are the people who deliver the service and you’ve got to ensure that they’re motivated in the right way. They need to have the right training, the right philosophical background. We put a lot of effort into induction where we tell them about the family, the history of the company, the history of the hotel and something about the city where the hotel is located  so everyone has a sense of heritage and belonging as a family. It is my sister and myself and three children running the hotels, we know a lot of the individual staff members and it creates a sense of warmth in our hotels which you cannot necessarily find anywhere else.

Read more: Chaumet’s latest exhibition reveals the symbolic power of tiaras

LUX: Is it important that your guests can recognise the brand when they’re staying at one of your hotels?
Sir Rocco Forte: Yes, part of having a group is that, you get cross fertilisation and you get customers using more than one hotel, following the brand. So the brand is important because the customer knows that if he comes to Brown’s or goes to Hotel de Russie in Rome, he will get a certain type of service and a certain type of welcome.

LUX: A lot of your properties are significant and historic properties in individual cities, how do you imbue them with the Rocco Forte brand?
Sir Rocco Forte: The induction is consistent throughout the company that creates the blueprint on which the hotel is based. My sister who leads the decor has a strong agenda and sense of place. It is very difficult sometimes to please everybody. The thing is you get a hotel designer to design the hotel and there are the prototype rooms, but it is never quite finished, it is a design hotel, you are always adding little bits and pieces and so on, which gives a more personalised touch. My sister does that very well. She usually buys locally, which give the rooms a more homely feel.

Views from a luxury terrace over a European city

The view from the Popolo Suite at Hotel de Russie in Rome

LUX: You have lots of developments happening in Italy at the moment – is Italy a particularly important destination to you?
Sir Rocco Forte: Italy is not the easiest place to do business, so in a way that is an advantage for us. Italy is a tourist destination, it is the prime tourist destination in the world. The American market loves Italy and that’s a very important market for travel. About 40% of our business comes from the States, you can get high prices for the rooms you sell, which in some destinations it’s impossible to do. So from that point of view, it’s attractive. The bureaucracy and the labour laws make it difficult, but the demand is there if you get the right hotel in the right location and at the price.

LUX: And Italy is underserved by luxury hotels, isn’t it?
Sir Rocco Forte: Yes, there’s no luxury chain across Italy, and we now have the opportunity to create one. We have six hotels and the three new hotels that we’re developing — we are doing a second hotel in Rome, a small 40 bedroom hotel in Puglia, and we have just taken on a place in Palermo, which is a 100 bedroom hotel and used to be a jewel of a place, but is now very run down and it’s been badly run for many years. It is a wonderful destination hotel. The city Palermo is having a revival, a lot of people are buying houses there, and doing them up. It is quite a good time to go in there and I already have a resort in south of Sicily, and Palermo is the airport you use for that so having the two properties working together is beneficial. But obviously, I need to be in Venice and Milan, I’d like to be on the Amalfi coast and some of the other heritage cities with smaller hotels. I am pushing to try and get there.

I also still want to be in the States…New York and LA and Miami maybe, I’d like to be in Paris, I’d like to be in Moscow, and probably another German city. Hamburg or Dusseldorf would complete the German equation. We are doing our first hotel in the Far East, in Shanghai, which will open next year. We don’t have a clear date, things get delayed quite a lot there.  It is moving forward, but slower than it is supposed to. That will be our first step into that part of the world. We will see. If I am going to travel to my hotels and if they are way out, that’s less attractive. I have to think carefully about it, about how far we extend geographically. Within Europe it is fairly straightforward.

Read more: Maryam Eisler’s new photography series reimagines pastoral romance

LUX: With the new portfolio that you are developing, are most of the hotels owned or managed, or both?
Sir Rocco Forte: The Palermo hotel we bought, but we probably won’t keep the ownership. We are talking to a partner about taking it on and leasing it back to us. The other two are leases, I prefer leases to management contracts because we’re in control with a lease. You have complete control of the property and you can do more or less what you want. With a management contract, the owner tends to interfere all the time. He thinks he knows how to run the property better than you do. If the hotel is doing well, he doesn’t need you, if the hotel is doing badly it is your fault. You take on more risk with a lease, but then it is a bigger upside and you have control over your own destiny.

Luxury hotel suite with plush furnishings

A Junior Suite at Hotel de La Ville, one of two Rocco Forte hotels in Rome

LUX: As an entrepreneur, what qualities have you needed to get to this stage with RF Hotels?
Sir Rocco Forte: Very difficult to say. I think you have to have a passion for what you’re doing, what you want to do, and you have to really care, and have people around you who believe in what you’re trying to do, who will help you to do it. You have to have determination. Where there are obstacles you have to overcome them. You have to have the determination to overcome them, not take no for an answer, continuously try to move things forward. It is easy to get dispirited, upset and to give up. A lot of people do, but I am not made that way and I am always looking forward, always looking to see if I can do things better. It is that, and I think the minute I stop having a passion, then I should stop working. But I hope that will never happen.

LUX: Do you have dreams of passing on the business to your children one day?
Sir Rocco Forte: Yes, but my kid are still in the early stages and they might well reach a stage, where they don’t want to take on responsibility so we’ll see. At the moment, that’s the idea. And it’s good having them working the business, it gives a certain continuity to the business and it adds value to the business. In the short term, it makes us different to a lot of other companies and from a personal point of view, it gives me a huge amount of pleasure: my kids have left home, but I see them all the time. We’ve got something in common to talk about and to argue about, and to enjoy. You never know — I could go under the proverbial bus tomorrow. And then what happens? The business is in a position where it can continue to go forward, but then my family would have to decide what they want to do.

LUX: Talking about the younger generation, do you think that, as customers, their demands of the hospitality industry are different?
Sir Rocco Forte: Apart from the technological side that we were talking about it earlier, the way they dress is differently, but in the end of the day they still enjoy service and being looked after. It depends…a lot of them are brought up under very comfortable circumstances and they understand that way of life and I don’t think they are particularly different. All the ones I’ve seen using my hotels, seem to enjoy the facilities like anybody else. I suppose there is more of a consciousness of wellness and well-being and looking after yourself than there was in the previous generations. We meet those demands through the facilities that we have in the hotels already. But I wouldn’t say there is anything dramatic and to build a hotel for a specific sector of a population is narrowing your market quite considerably. I also think people whether they are millennials or older people, like the idea of heritage and like the idea of history, and they enjoy it when they experience it — I don’t think that has changed. Most people want to know what is the next thing? I don’t know what the next thing is, but I think hotels tend to follow trends rather than set them. Mine do anyway. I think in the luxury sector, that is more so than it is anywhere… You have hotels now that have no staff, you put a credit card in a slot, you get a room key and you go up to your room. And there isn’t a restaurant, there are communal rooms for people to use, you help yourself, all these sorts of things, but not at the top end of the market. I don’t see anything dramatic on the horizon.

Read more: Where I would invest £100m in property by Knight Frank’s Andrew Hay

LUX: Your portfolio is predominantly city-based. Have you ever been tempted to start a resort hotel in tropical climates? And if not, why not?
Sir Rocco Forte: Because anything I’ve looked at hasn’t really worked financially. I haven’t managed to find anything. The hotel in Puglia has a beach facility available, but it is not on the sea. And then there is a seasonality thing, which is difficult. When you are building a new hotel from scratch, to finance that on quite a short winter season, for example, is difficult because it closes, then it opens for a very short summer season and then it closes again…

Luxury contemporary style villa with a private pool and wooden terrace

A luxurious villa at Rocco Forte’s Verdura Resort in Sicily

LUX: And what about the residences model that a lot of new hotels seem to have now, is that something you’d ever consider?
Sir Rocco Forte: It depends on the property, the location and the size of the property. But in Rome we’re now doing five luxury apartments, which are situated on the corner of Piazza de Spagna, which is within walking distance to our hotels (one is on top of the Spanish steps and the other one is on Piazza del Popolo). So that’s a new endeavour. Also we’re building some villas now in Verdura, which initially will be let as basically a sort of extended stay or hotel accommodation for families who want to stay together in one unit. We’re starting to get into that market.

LUX: Are there any other new developments in the pipeline that we should know about?
Sir Rocco Forte: My daughter has been working on the spas. The spa in the new hotel in Rome will be her spa design, which she thinks will be the first properly designed spa. She thinks that it has more activity and treatments and so on, which will encourage people to come and see. There are a range of creams that she produced which are properly organic so that is a bit of a new venture. Otherwise, we are continually looking to improve the facilities in our hotels. We are looking at the food side particularly. It is difficult for hotels to do restaurants well. We are always searching. A lot of places that have successful restaurants started out being run by restauranteurs, rather than hoteliers and then they have a few rooms as well. For example, Chiltern Firehouse or Costes originally, they had a few rooms and then they bought the hotel next door extending it. I haven’t found the key to creating really successful restaurants. Our restaurants are doing well by the standards of hotel restaurants. If we are doing 120 covers a day, we are happy, but there are restaurants doing 250 covers a day. Some hotel restaurants you go into, you never see anybody there. That is not the case with ours, but we can do a lot better than we do.

Discover the full Rocco Forte portfolio: roccofortehotels.com

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Reading time: 15 min
Backstage image of a model wearing a tiara
Backstage image of a model wearing a tiara

Backstage image of a Chaumet tiara being fitted on a model

Tiaras are the cult jewel of maison Chaumet, and their latest exhibition ‘Chaumet in Majesty’ at the Grimaldi Forum, Monaco offers a rare insight into the iconic jewel’s history

Since 1780 Chaumet has been the jeweller to sovereigns. This latest exhibition at Grimaldi Forum recounts the lives of the brand’s royal customers and delves into the history of the jewels themselves, highlighting tiaras as symbolic of timeless feminine power.

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Antique photograph of a woman in evening dress wearing a tiara

Portrait of Edwina, Countess Mountbatten of Burma, last Vicereine of India, wearing her Chaumet tiara for George VI’s coronation. Photographie de Yevonde, 1937. © Madame Yevonde/Mary Evans Picture Library

As Chaumet demonstrates, a tiara is not just a decorative jewel, but one which has an important functionality, specifically designed to imbue its wearer with virtuous qualities and authority. For example, The Briar Rose Bud tiara (1922) features fauna motif referring back to the power and prestige of classical laurel wreaths whilst the material qualities of the pearls evoke wisdom and diamonds are traditionally associated with timeless elegance and strength. The Pearl and Mircomosaic Parer (1811) also projects an image of its imperial court. The tiara depicts scenes of Roman landscapes through mosaic techniques to lend the piece and its wearer an air of romanticism and grandeur.

Product image of a diamond tiara against a black background


‘Chaumet in Majesty’ exhibition at the Grimaldi Forum, Monaco: displaying the tiara with florets of Edwina Countess Mountbatten of Burma, last Vice-Queen of India created by Marcel Chaumet (1886-1964) in 1934 in the workshop of Maison Chaumet. The tiara was entrusted to another Maison who sold it to Lady Edwina Mountbatten. Private collection

Read more: Why we love Cartier’s high jewellery collection ‘Magnitude’

The exhibition brings together 250 pieces of jewellery, some of which are being seen publicly for the first time, sourced from the collections of Prince Albert II of Monaco, Queen Margrethe II of Denmark and museum collections from all over the world. In the exhibition we see the heritage of the maison’s forms and the quality and beauty of their pieces, but more importantly, we can begin to appreciate jewellery’s role in signifying women’s power throughout the ages.

‘Chaumet in Majesty’ runs until 28 August 2019 at the Grimaldi Forum in Monaco. For more information visit: chaumet.com 

Rosie Ellison-Balaam

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Model posing with large contemporary artworks
Model wearing a large necklace with blue stones

The Équinoxe necklace with an octagonal yellow sapphire at the centre

Move over minimalism, Cartier’s latest high jewellery collection is an adventurous exploration of magnified dimensions

Magnitude by Cartier is as much a statement of size as the collection’s name suggests. At the centre of each piece sits a remarkably large stone in its original form, showcasing unconventional, semi-precious crystals alongside more traditional jewels and diamonds.

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The most striking example of this adventurous new design approach for the French maison is the Zemia cuff bracelet, featuring an immense 77.27-carat matrix opal circled by violet sapphires, spessartite garnets, and brilliant-cut diamonds. The 68.85-carat rutilated quartz of the Aphélie necklace possesses similarly impressive proportions, set in a pink gold pendant with cascading morganite beads, orange and white diamonds, and flashes of coral and onyx.

Model posing with large contemporary artworks

Model wearing the Zemia cuff bracelet from Cartier’s Magnitude collection

Cut out image of an elaborate necklace with a huge stone centrepiece and beads

The Aphélie necklace

Whilst working with a variety of sizeable and seemingly unrefined stones, the collection retains the subtlety and elegance of the wider Cartier portfolio in the smaller, surrounding details of contrasting yet complementary colours and textures. For example, electric blue beads of lapis lazuli are interlaced in an openwork constellation design of the Équinoxe necklace with an octagonal yellow sapphire at the heart.

Read more: Ruinart x Jonathan Anderson’s pop-up hotel in Notting Hill

An overall talismanic effect is achieved through the earthy tones and natural aesthetic of the rudimentary colouring of each centrepiece, reminiscent of Cartier’s earlier work with ornamental stones in decorative objects during the Art Deco period.

Chloe Frost-Smith

For more information visit: cartier.co.uk

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Woman walking towards table wearing a smart dress and holding a parasol
Three women posing in a field English countryside

Models (left to right) Agathe Angel Chapman de Lussy, Blaise and Alice Pins wearing designs by Meihui Liu of Victim Fashion Street. Hats by Noel Stewart and Piers Atkinson. Shoes by Natacha Marro. Styled by Ann Shore in Oxfordshire

Photographer and LUX Contributing Editor Maryam Eisler’s latest series reimagines a romantic version of the ‘Sublime Feminine’ set amidst the idyllic Oxfordshire countryside, in collaboration with Meihui Liu, founder of up-cycled, ethical and sustainable design label Victim Fashion Street

Photography and words by Maryam Eisler

‘Shall I compare thee to a summer’s day?’  – Sonnet 18, William Shakespeare

Tell me of one who has visited the countryside on an English summer’s day, and not felt the magic of almost-temporal emotions evoked by the sheer beauty of its nature, reflected by sounds carried upon the wind.

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The sound of cricket bats hitting balls in the distance. Of horses’ hoofs trotting along bridle paths covered by foliage, casting a hundred shadows, dancing to a thousand songs sung by maidens returning from the fields, their good day’s work done. The land tended to, a bottle of warm cider washing down homemade bread and cheese, a pickle to perk-up the repast.

Model poses sitting on a bench in a wide hat and long dress

Hat by Noel Stewart. Shoes by Natacha Marro

Young model poses in high fashion outfit

Hat by Noel Stewart

Three women sitting around a table with pizza

Shoes by Natacha Marro

Afternoon tea, anyone?

Fast forward to the present, planting beauteous maidens anew in those same fields of our imaginations. Seeing young Englishwomen dressed up in their lace and floral finery, languid and remote to match the balmy weather.

Young model poses in elaborate fashion and hat

Hat by Noel Stewart

Model poses wearing a large hat seated in long grass field

Young female model crouched in the long grass wearing a headpiece

Headpiece by Piers Atkinson

Read more: Richard Mille Chantilly Arts & Elegance 2019 in photos

Soon the harvest season cometh, beware the beguiling sunsets, and the warmth breeding a tempestuous sky. Past romance, nostalgia’s return. Stop the clock, time is precious …we never know the value of the moment until it’s reflected in memory. Locked and stored, ready for the flashing stroke of another summer.

Strawberries and cream, anyone?

The shy Jay’s shrill cry when taking flight hidden in the thick foliage of an old English oak. The calming, soothing call of the wood pigeon, its eyes fixed upon intruders into its little paradise. The blackbird that dares not squawk, for ill-temper becomes it well, but not in the face of such maidens’ beauty.

Model wearing a long dress walking through a field

Clothing and accessories by Meihui Liu of Victim Fashion Street

Model half hidden in long grass wearing black clothing

Hat by Noel Stewart

All is quiet, all is calm; ‘tis an English summer’s idyll. Only the click of the camera records the moment, the photographer’s ephemeral moment made for the regard of all. The handmaidens’ tales made as presents to those not favoured by the sight of English summer’s bright. Their summer fare, passed along as wear across subterranean ethernets for all to see, smell and hear. Their pictures are portraits for all times. Serving beauty, serving style, serving innocence, patchwork vintage n’all.

‘But Thy Eternal summer Shall Not Fade’ – Sonnet 18, William Shakespeare

Woman wearing a tiara with flowers

Female model poses draped over a wooden chair in thigh-high boots

Boots by Natacha Marro

Woman walking through field with a parasol and wearing long dress

‘Hand-made in England’ was photographed by Maryam Eisler at Story Deli in Oxfordshire, featuring models Alice Pins, Agathe Angel Chapman de Lussy and Blaise and sustainable, ethical up-cycled fashion and design by Victim Fashion Street and Meihui Liu. Hats by Noel Stewart and Piers Atkinson. Shoes by Natacha Marro. Styling by Ann Shore. Makeup by Melissa Victoria Lee and Keely Mangham

To view Maryam Eisler’s full portfolio visit: maryameisler.com

 

 

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A silver sports car pictured in front of a stately home and behind a water fountain
Last weekend saw the 5th edition of Richard Mille’s annual automotive competition in Chantilly, France. Here, we recall the event in images

The weekend kicked off with the supercar rally in which the Mortefontaine track was turned into a playground for luxury cars and their owners. Practicing slaloms, braking and speed bowls, drivers such as skiing champion Alexis Pinturault showed off their racing prowess.

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Meanwhile, lunch at the Palais de Compiègne in the company of Jamaican sprinter Yohan Blake was a quieter affair. Here, at the Rallye des Collectionneurs, the public had the opportunity to marvel at a collection of rare cars including McLaren P1 GTR and 720s, Ferrari’s LaFerrari, Enzo and 288 GTO models, the Porsche 918 and various Mercedes SLRs.

Richard Mille car show by a lake

Before dinner entertainment that evening was provided by champion rider Jessica von Bredow-Werndl who impressed guests, including Australian actress Margot Robbie, with an elegant dressage in the stunning setting of the Grandes Écuries de Chantilly.

Read more: Ruinart x Jonathan Anderson’s pop-up hotel in Notting Hill

Sunday continued with the Concours D’Elegance, bringing together automotive masterpieces whilst guests enjoyed boat rides along the grand canal and old fashioned games on the lawn. An elegant weekend indeed.

Horse rider performing in an arena of a stately home

Jessica Von Bredow-Werndl performing a dressage demonstration before the Saturday night gala dinner

People at a car show in the setting of a stately home

Classic car driving through crowds

Richard Mille Chantilly Arts & Elegance 2019 took place on 29 & 30 June. For more information visit: chantillyartsetelegance.com

 

 

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