The Horizontal Falls in Talbot Bay are regarded as one of the greatest wonders of the natural world. Image courtesy of Abercombie & Kent

Fresh from an expedition to the South Pole, Abercrombie & Kent Founder and LUX contributor Geoffrey Kent is planning his next trip to Australia’s last frontier: the Kimberley. Here, he shares his exclusive itinerary

At journey’s end, any passionate traveller knows the conflict of wanderlust: the more destinations you visit, the more you desire to see. Having completed another hugely successful and enjoyable expedition, to the South Pole at the very end of 2018, my thoughts are now turning to other exciting destinations for the intrepid.

In the far western corner of Australia lies a rugged and rarely seen frontier, enveloped by dramatic coastlines, gravity-defying waterfalls, ancient indigenous art and sheer wilderness.

It’s a vast and beautiful landscape of red dirt as ancient as the country’s Aboriginal history and as far away from the Australia trope as you can get. It’s the Australia we often read about but don’t often witness. It is, of course, the Kimberley.

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Revered as being one of Australia’s last frontiers, the Kimberley occupies almost 17 per cent of Western Australia, stretches for 421,000 kilometres and is as idiosyncratic as it is extreme. Home to sacred indigenous rock art, caves, and shelters as well as crashing waterfalls, rugged coastlines, unforgiving deserts, and limestone ranges, the isolation of this part of the planet only adds to its beauty.

Rock formations in the Purnululu National Park known as Bungle Bungles. Image by Ben Carless

But when it comes to exploring the Kimberley (an area larger than 75 percent of the world’s countries), it could be hard to know how best to go about visiting, especially if, like me, you crave adventure by day, luxury by night. The answer, of course, is boutique cruise ship or superyacht, backed up by helicopters and small fixed-wing planes. The feeling of climbing into a cosy bed with high-thread-count sheets after a day exploring a land off the beaten path – off any path, really, is indescribable.

Let’s begin a journey to the Kimberley:

Broome

A country township built on the mother-of-pearl industry, Broome had to quickly reinvent itself when the arrival of the now innocuous plastic button ended the world’s need for mother-of-pearl almost overnight. Luckily Broome is splendid, so when the town switched its focus from trade to tourism, business continued to boom. At its most popular during the dry season (April to October) Broome’s beauty really becomes apparent at sunset – particularly if you’re lucky enough to witness the Staircase to the Moon, Western Australia’s version of the Northern Lights. This natural phenomenon happens when the full moon rises at a low tide and casts its glow over Broome’s exposed mudflats. What’s left is a stunning optical illusion of golden steps rising out of the Indian Ocean. It’s best seen from Roebuck Bay, but you can catch it all along the coast.

Read more: Andermatt’s Mystical Mountains documentary series

Bungle Bungles

These stunning rock formations are found among the remoteness of the Purnululu National Park and have been sculpted by millions of years of erosion into the tiger-striped, beehive domes they are today. You must see them from above to appreciate the sheer scale of this fascinating and fragile rock massif, which stretches for more than 240 square kilometres.

The Lacepede Islands are home to green turtles and many bird species. Image courtesy of Abercrombie & Kent

Lacepede Islands

Set atop a coral reef, these four low-lying cay islands are an important nesting site for green turtles and several bird species including brown boobies, red-chested frigates, crested terns and speckled ruddy turnstones.

Horizontal Falls

Hop aboard a boat and take a trip to see Horizontal Falls. This phenomenon can be found in Talbot Bay. David Attenborough called these falls “one of the greatest natural wonders of the world” – the horizontally flowing waterfalls are created when massive tidal currents squeeze through two narrow gorges.

Swift Bay is the site of ancient rock paintings

Mitchell Falls

Take a helicopter ride across the rugged Mitchell Plateau and over the top of the sandstone-carved Mitchell Falls and its tumbling cataracts. Alight to explore the area on foot, perhaps enjoying a refreshing swim in the emerald-coloured, pristine freshwater pools formed by the falls.

Read more: Inside Bangladesh’s Rohingya refugee camps

Swift Bay

Named after the author of Gulliver’s Travels, Jonathan Swift. Located in the Bonaparte Archipelago and sacred to the Worrorra people, Swift Bay is the site of an incredible array of indigenous rock – the Wandjina (or Wanjina) style as well as the older Gwion-Gwion (or Bradshaw) style.

If I’ve ignited your curiosity and you can feel a visit to this historical and mythical part of the world becoming paramount, join the club, I’m fixated on the Kimberley. Meet you there?

Abercrombie & Kent will be hosting a Luxury Expedition Cruise to Kimberley in 2020. For more information visit: abercrombiekent.co.uk

Studio Piet Boon are the lead designers on Half Moon Bay Antigua, the new and exclusive Caribbean resort

Dutch designer Piet Boon’s eponymous studio envision every detail of a design from the exteriors to the interiors, lighting and upholstery. They’ve worked on major projects all over the world, most recently as the lead design team behind the major new Caribbean resort Half Moon Bay Antigua. Here we put Piet Boon in the 6 Questions hot seat.

Piet Boon

1. What’s your ideal working atmosphere to channel creativity?

The ideal working atmosphere for me? A balanced environment free from dissonance. I believe that creativity is a state of mind, so I like to get rid of distractions when I need to think. At our studio we need to be creative every day because our clients rely on us to deliver the best. It is therefore crucial that our workspace facilitates creativity. The interior is timeless and calm, but is also filled with art and beautiful objects to inspire and provoke creative thinking. The best ideas arise when our designers come together and think out loud. You get positive vibes, good discussions and a lot of energy. We then bounce off each other’s ideas and create the most amazing design solutions.

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2. Can you tell us about your vision for Half Moon Bay Antigua?

Our vision for Rosewood Half Moon Bay Antigua is to, together with landscaper VITA and architects OBMI, create an ultra-luxurious hospitality destination that blends in with its natural surroundings as if it came up from the ground and has always been there. This vision will also apply to the Rosewood branded residences surrounding the hotel: design imbued with a strong sense of place. At the same time, guests will experience comfort and understated luxury at every turn. At Half Moon Bay nature reads as a prominent feature. Just like the typical typology of the island, the rooftops at Rosewood Half Moon Bay are kept below the treetops, allowing the units to blend in from all angles. An inside/outside connection was also the key point for the design. Bespoke contrasts weave the natural surroundings throughout the interior and exterior of every room. We envision Half Moon Bay to be an unparalleled Caribbean retreat where both hotel guests and those who own a branded residence or one of the bay’s ten estate residences can relish in luxury, comfort and time.

Rendering of a residence at Rosewood Half Moon Bay Antigua

3. What’s been your most challenging project to date and why?

Every project has its own challenges and in different ways. That can vary from time constraints to building regulations, and from weather conditions to challenges specific to the location. Our first project in New York was a very large apartment on Fifth Avenue that we were commissioned to renovate completely…within a time-frame of three months. That was a bit of a challenge. We managed to deliver, and the result was great. That client has been with us ever since.

Read more: Rosewood’s flagship hotel opens in Hong Kong

4. Is it important to develop a signature style as a designer?

I would think so, definitely. How would you be able to differentiate otherwise? What would be the added value for clients to come to you? Even more important is being consistent when it comes to your signature. Staying true to your values and identity. We have been designing for over 35 years now, and although our designs have evolved, we still maintain the same signature. I think that that is also the reason why we are still able to do what we do; balance functionality, aesthetics and individuality. Clean lines, strong axis, subdued colors and rich natural materials have informed our work from the very beginning.

Bedroom interiors with a outdoor bathtub, designed by Studio Piet Boon

5. Do you have a favourite material to work with?

At Studio Piet Boon we like to work with rich natural materials. Not only because of the quality, look and feel, but also because they become even more beautiful over time. When we design something, we want it to last. Or at least last very long. Another material I like working with is concrete. Firstly, it is a strong and durable material, secondly, it’s honest and beautiful; sober and at times even breathtaking.

6. Are trends valuable in design or a hindrance?

That depends on how you go about them. You should use them in a way that you benefit from. It becomes a hindrance if you have to unnaturally adapt yourself for the sake of following a trend. I must say that we’ve never been trend followers. We observe the world around us and find inspiration in many things, and use this in our designs and creations.

View Studio Piet Boon’s full portfolio: pietboon.com

For more information on Half Moon Bay Antigua visit: halfmoonbayantigua.com

Kitty Harris

The new flagship Rosewood hotel in Hong Kong

Hong Kong’s brand-new Rosewood Hotel is a triumph of taste and style, says Darius Sanai

Moving speeches, fabulous conversation, amazing design, O Toro from Japan, Hospices de Beaune Meursault from Burgundy, pata negra from Andalucia, and a feeling throughout that you are in a very swanky, perfectly curated version of a Soho House.

The hotel, the brainchild of Sonia Cheng, third generation scion of the family, was nearly a decade in the making and is one of the centrepieces of the Victoria Dockside development, Hong Kong’s answer to New York’s Hudson Yards, masterminded by her elder brother Adrian.

From left to right: Ms. Katherine Mei Hing, Dr. Hendry Cheng, Ms. Sonia Cheng and Dr. Adrian Cheng at the opening part of Rosewood Hong Kong

From left to right: Ms. Sonia Chen, Ms. Katherine Mei Hing and Ms. Pansy Ho attend the Rosewood Hong Kong opening party

Every detail is both exquisite and tasteful – the Rosewood Hong Kong is the polar opposite to those gold plated, taste free monoliths in the Gulf.  All around, you feel that you are surrounded not just by expensive things, but by extremely thoughtfully chosen ones.

Our favourite bit? The Manor Club, on the 40th floor. Shelves are lined with gorgeous art books, there was an extremely professional game of snooker going on in one room, and a door behind the bar opens up to the most stunning view of Hong Kong, and the Peak behind, of any hotel.

Worth visiting now, and even more so when the Victoria Dockside finishes in all its cultural glory later this year.

Book your stay: rosewoodhotels.com/en/hong-kong

‘1989 Wandeling’, Luc Tuymans. Photo credit Ben Blackwell. Courtesy David Zwirner New York

Venice is gearing up for the Biennale with a whole host of exhibitions opening up around the city. One of the most interesting is La Pelle by Luc Tuymans at Palazzo Grassi, François Pinault’s gallery on the edge of the Grand Canal. The exhibition is extraordinarily wide-ranging with more than 80 paintings on display from 1986 right up to Tuymans’ most recent works. The title, which translates as ‘skin’ in English, takes its name from the infamously controversial novel by the Italian writer Curzio Malaparte, set in Naples at the tail end of the Second World War.

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War is a theme that permeates Tuymans’ work too, or more specifically the horrors of Nazism. The first artwork visitors come across is a giant floor mosaic of pine trees, based on a painting that the Belgian artist made outside a German labour camp at Schwarzheide. Vertical lines cut through the composition in representation of the way prisoners tore up their drawings to hide them from the guards. Overlooking the mosaic is a small portrait of Albert Speer, the chief architect of the Nazi party.

Installation shot from ‘La Pelle’ by Luc Tuymans,
Palazzo Grassi, Venice

Many of the artist’s works are based on secondary images, such as photographs taken from a television screen, YouTube or Netflix. Tuyman’s paintings favour bleached-out colours, giving the work a spectral quality as if the images are fading right there in front of your eyes. And the show is haunting in the sense that it will stay with you long after you’ve wandered back down the grand staircase and into the Venetian sun.

2015 ‘Isabel’, Luc Tuymans. Photo credit Studio Luc Tuymans.

‘La Pelle’ by Luc Tuymans runs until 6 January 2020 at Palazzo Grassi. For more information visit: palazzograssi.it/en/exhibitions/current/luc-tuymans-la-pelle/

The Swiss alpine village of Andermatt. Image by Laureen Missaire

The fairy-tale village of Andermatt is fast becoming one of Switzerland’s most desirable destinations with the recent opening of a new ski region as well as a scattering of luxury hotels and holiday homes. But what’s it like to live and work in the region? A new documentary series investigates

The Swiss village of Andermatt sits nestled amid the towering peaks and forested slopes of Switzerland’s Saint-Gotthard Massif, some of the world’s most dramatic  scenery. The recently launched twelve part YouTube documentary series, aptly named Mystic Mountains is an ode to the region’s beauty, nature’s captivating power and an investigation into living remotely.

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Filled with panoramic images of drifting clouds and snow-covered mountains, each episode runs for approximately ten minutes and features interviews with locals, guests, historians, artists, free-riders, farmers and business people. The final script was the result of discussion-led workshops with director Benoit Pensivy of 3W, during which mysticism became the overarching theme as way of describing the individuals’ experience of the Andermatt landscape.

Watch the first episode below:

Find the full series here: andermatt-swissalps.ch/en/andermatt/mystic-mountains/

Last year, 13-year-old Dagmar Rothschild travelled to Bangladesh to visit the Rohingya refugee camps with the non-profit organisation BRAC. Here the young writer reflects on her journey and the impacts of discrimination

All photography by Dagmar Rothschild

I walk along the narrow dirt paths with sewage flowing through the gutters, the sound of screaming children fills the air. The roads are lined with huts held up by thin pieces of bamboo. I turn around looking at the thousands of tents that seem to go on forever as no matter how far I look it seems as if the people and the tents don’t stop. Standing in the centre of one of the largest refugee camps in the world which holds nearly a million Rohingya refugees, I feel as if I have been transported into another world.

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A large number of Rohingya refugees fled from Myanmar to Bangladesh in August 2017 because they claim that the Burmese government was persecuting them for their religious (Muslim) beliefs. They say that fleeing the country was the only option since their jobs were being taken away, their houses were being burned down and the military had been using violence against them. The refugees reported shootings, beatings and rapes.

As I travelled through the camps, I began to realise that although nobody could ever call a place like this home, at least it provided the refugees with a feeling of safety, which is something that many of them have rarely experienced. Although the Rohingya have no form of citizenship (the Myanmar government did not issue them passports), they do have shelter, healthcare, food, water, and primary education. Yet, I still sensed a profound feeling of loss. Not only had they lost everything they had treasured most in the past, but they also had lost all hope for the future. What I wanted to find out is: how you could provide such a significant number of people with the essentials to live in such a short amount of time and what the future might look like for the Rohingya people.

I was a guest of BRAC (formerly known as Bangladesh Rehabilitation Assistance Committee), an NGO that has long been effectively active in Bangladesh working in the areas of healthcare, education, and micro-finance. BRAC was one of the first NGOs on the scene in Cox’s Bazar when the Rohingya started coming over and they are able to work quickly and efficiently because they know the country and the people. There were people from all walks of life in the refugee camp showing how the Burmese government was discriminating against a religion, not a class. The Bangladeshi government does not allow the refugees to go outside of the camp, so their opportunities for work are minimal. The adults are permitted to open a food stall or do small jobs around the community. People want to work, they want to support their family and not sit around all day because they have nothing to do. Throughout the camps many people are being trained on how to prevent disease spreading by washing their hands regularly in clean water and cooking food in a sanitary way.

I spent four days touring around the refugee camps, but I didn’t come close to seeing all of it. One of the things I was interested in is talking to young children. Children in the camps are encouraged to spend their days in a child-friendly space where they have access to a safe child-friendly environment and can get a standard education and interact with children their age. However, as I talked to these kids with a translator, I could tell that they were still afraid. They didn’t know whom to trust and when they would be able to sense the feeling of safety again. Although some children do spend their time in the child-friendly spaces, many other children spend their days either sitting in their tents or wandering the streets desperately looking for something to do, someone to talk to. Many children, girls in particular, are too scared even to leave their tents because they fear that they will be kidnapped and will have to relive their horrifying memories.

Read more: Model and stylist Mouchette Bell on Buddhism and Anna Wintour

I left these camps with questions and thoughts whirring around my brain. I’ve grown up in a world where I don’t have to worry about having to flee my country or having access to clean water. For me, these essentials to life were just handed to me, and I tend not to even think about it. From a young age, my parents always tried to teach me how lucky I was because there were people all around the world who were struggling, and it didn’t have anything to do with what they had done. I guess a lot of it is due to luck. I definitely would not be sitting here right now in my air-conditioned house typing on a laptop. Instead, I would be crunched up in the corner of a tent with 20 other people  wondering why I was there, what I had done. The Rohingya refugees did nothing wrong; they were persecuted and discriminated because of their beliefs. How could anyone let this happen?

We hear about acts of violence and discrimination every day. A lot of us think that something needs to change, but still most of us carry on with our everyday lives. That’s where the problem is, nothing is going to change if we don’t change it.

Find out how you can help: response.brac.net

Model and stylist Mouchette Bell. Photographed by Benjamin Kaufman

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: After gracing the pages of the world’s biggest glossy magazines as a model in her twenties, Mouchette Bell stepped behind the camera to become a stylist and Fashion Editor for the likes of Tatler, Harpers Bazaar and Vogue. Now she’s back on the books at Models 1. She speaks to Charlie about Anna Wintour, Buddhism and recovering from PTSD.

Charlie Newman: Firstly, could you take us right back to the beginning of your career in fashion. Where were you scouted?
Mouchette Bell: I always loved clothing and dressing up since I was a child. In the 80s when I was out and about in these crazy clothes, people used to take pictures of me. I was only dressing up for me, as a form of expression, I never even thought about being a model. Quite a few photographers would enquire whether I was signed to an agency or not, so I decided it was time I got one! I was 16, it approached me. Clothing and style were and still are more important for me creatively than modelling.

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Charlie Newman: As a model, what’s been your career highlight for you so far?
Mouchette Bell: There were lots of highlights. One of them was working with Peter Lindbergh and Franca Sozzani. I was at a casting, and in those days there wasn’t a market for my look. If they did use an ethnic girl they had to have a very strong look, so I just remember waiting in line at this casting and thinking ‘oh god what am I doing here’. I wasn’t very confident back then, I was incredibly shy. People aren’t so shy any more, it’s a word I don’t hear today’s youth say. Anyway, Peter came up to me at the casting and asked if I was free to go to Paris the next day, to come as I am and not change a thing so off I went! I shot for Les Glamour andItalian Vogue in Paris – I just wish I could find the pictures! Someone told me Peter has the images of me on his office walls. I was sort of in an Marilyn Monroe pose, in a fabulous trench coat paired with heels and gloves, standing over a grill so that when a train went under, the coat blew up and so did my hair! It was a great picture.

Charlie Newman: Tell us about your transition into styling.
Mouchette Bell: The fashion world was very welcoming. When I moved to New York to model I shot a lot of editorial with Condé Nast, particularly with this amazing magazine called Mademoiselle. During fittings, I would always be saying “oooh you could shoot it with this, or with that”, I absolutely loved being in that fabulous wardrobe. That’s when I realised that I had to go into styling and that I would be much better off camera, more relaxed. I used to freeze up so much whilst shooting, the team really had to get it out of me.

Charlie Newman: Was it easy moving into styling having been a model or did you have to prove yourself that bit more?
Mouchette Bell: Well, I obviously had made a lot of contacts which really helped. I used them at the beginning to help build up a portfolio, I really worked on that. There was one woman in particular, Sandra Horowitz, who gave me my big break. I showed her my portfolio and she gave me the job of Accessories Editor at Mademoiselle. I was incredibly lucky. I absolutely love jewellery but having said that I quickly became a Fashion Editor, just 6 months later! I lived and breathed fashion, nothing else mattered to me then. I wrote to Anna Wintour, who was working at British Vogue at the time, asking for an appointment, having harassed everyone at Condé Nast for her contact details! I prepared my book again and went through it with her. She could just see that I was really serious about fashion and within a few minutes I’d got the job at British Vogue. It was unbelievable. She was very good to me, I was very young and foolish back then. Thanks to Condé Nast America I studied at Parsons in New York. They were so supportive of me, so much so that they funded my diploma in Fashion History for two years when I was a bit of a tearaway. It was like a finishing school for me, I would go study in the evenings after work. They really opened up my eyes and took good care of me.

Charlie Newman: Why did you approach Anna at British Vogue? Why not another magazine in New York or another city?
Mouchette Bell: I was so, so homesick, I just wanted to come home! But saying that, after British Vogue I moved to Munich to work at German Vogue as their Fashion Editor for a year because I fell in love with a German. I then returned to New York in the 90s and worked as a Fashion Director at Mademoiselle and loved it. I left New York just after 2001 as I had a beautiful apartment there and I was home on September 11th. My apartment was one block from Ground Zero and I had to be evacuated covered in dust from the falling twin towers, my apartment was ruined from the dust and debris. I survived this disaster and after suffering PTSD, I went on to work as Editor-at-Large for ELLE in London and contributed to Vanity Fair and Tatler. I hope to inspire others to know that it is so important to survive and flourish and win in your life.

Charlie Newman: For anyone hoping to work in the fashion industry, would you recommend diving straight in or to go to university first and then follow on from that?
Mouchette Bell: I would recommend going to arts school first, but then again that’s not what I did, that opportunity wasn’t available to me and I was lucky enough for it to be given later on. If you get the opportunity to go I would highly recommend it. Having said that, I’m saying this as someone who’s already established and I think it would be incredibly tough to start in the industry now. I can only give advice from my set of circumstances.

Read more: Rachel Whiteread on the importance of boredom

Charlie Newman: As a stylist what has been a career highlight for you?
Mouchette Bell: Wow, it’s so hard to chose! The career highlights are all down to who you work with and where you work with them. All that wonderful travel – it was different back then, they had enormous budgets and they knew how to spend them! I was always very aware of how lucky I was in that situation – I was one of the more normal people. Working with Michael Roberts for Tatler in Brazil and Elizabeth Saltzman for Vanity Fair was a real moment for me. I’m sure I’m missing out lots of my colleagues, but to work at that level was just amazing for me. When I was the Jewellery Editor at Tatler I was on set with £20 million pounds worth of jewellery!

Someone asked me recently what I miss about working at Tatler and the thing I miss the most is the horses. Most of those stately homes had all these horses, it was so wonderful to work with them too. I loved working for Tatler because you really got to see how the other half live. I found it really interesting and I met some lovely people. People are born into different walks of life and that’s why I always think we should never judge people.

Charlie Newman: In your ideal shoot now would you be modelling or styling, or doing both?
Mouchette Bell: I’d be styling myself because then I could have it all! I would get Paul Smith to shoot it, Alexander McQueen would still be alive and I could wear something of his, and I’d pile on as much Bulgari jewellery as I could get on! I went to nearly all of McQueen’s shows – now that’s what I call a spectacle, he was a true genius.

Photograph by Benjamin Kaufman

Charlie Newman: You were the first mixed race person working in the Condé Nast building. What did that feel like?
Mouchette Bell: Well that’s as far as I’m aware of, it wasn’t necessarily a statement I put out there, but it certainly felt that way. What Edward Enninful has done is amazing. We have to go to that extreme level for it to be balanced and eventually accepted as the norm. We’ve all got to learn, it’s even changed the way I look at things as well. But it was different back then, it was pretty racist. I don’t even know if that’s the right word to use.

Charlie Newman: What’s kept you grounded over the years?
Mouchette Bell: I think that I haven’t always been grounded to be honest with you. At times I was probably way off the wall, in way outer space fashion land, it really was my only world! But I think I’ve always been pretty sincere person, I can’t bullshit myself too much. I’ve been a Buddhist for the past 15 years and that practice of meditating twice a day keeps me very centred. We’re human beings, we all have very different aspects of our personality, some of them we need to hold in and some of them we need to develop. I just found that practice really helped me. It’s not a religion it’s more of a philosophy. That simple practise of meditating brings me back to my higher self, life’s possibilities and the value of respecting others as well as yourself. You have to make yourself happy before you can make anyone else happy.

Charlie Newman: How did you first come across Buddhism?
Mouchette Bell: I think I’d always liked the look of it, all the yoga and chilling out! But then after September the 11th I saw how a friend who takes no bullshit and is very streetwise, was practising Buddhism and I could really see a healthy change in her, so I thought I would try it out too. It’s a bit like going to the gym, it’s a discipline. If you meditate twice a day, you start and end your day more centred, you align yourself, which really helps with everything. It’s not about going off to some retreat or going travelling, it’s about making it work for your everyday life. Every action has a reaction, it’s cause and a effect, that’s why you have to take responsibility for your actions. Where you are now often is a result of the past, and then that’s where the whole idea of past lives comes into play. Just look at that Alexander McQueen documentary, he had it all yet that terrible suicide happened. You really have to focus on getting yourself centred and then truly you can achieve anything. At the end of the day it’s all about what works for you, and practising Buddhism works for me. You should always question everything, never blindly follow. I could go on and on, I love it so much!

Read more: President of LEMA Angelo Meroni on business with a soul

Charlie Newman: Thinking about the future, if you could wave a magic wand, how would you like to see the fashion industry change?
Mouchette Bell: For me, I would like for the industry to nurture the creatives more because that’s what keeps the standard so high and then that is what goes on to inspire people. This goes back to the whole cyclical Buddhist philosophy too. How has it felt coming back into modelling, especially having seen the industry so intimately from another perspective as a stylist. It’s completely different from when I started in every single way. The thing is I never left the industry, fashion will always be here, in whatever format or medium, to inspire others. I was reintroduced to the fashion world when I was in the Bath student fashion show, held in London. It was there that I met the wonderful Greg who introduced me to Chantal and Uwe, my now bookers at Models 1.

Timing is so important for me and it is only really now that I feel comfortable in my own skin and ready to do modelling again, but don’t get me wrong it’s still work in progress! I feel really privileged to be doing it and so lucky to be doing it at this point in my life. I don’t have to be ‘perfect’, I can be myself. I have my lines and my wrinkles, it’s much more accepting this time around. I also love to give advice to anyone starting out on set, only if it’s appropriate of course, just because I’ve been there, I understand. I learn from them also! I absolutely love modelling, but I had forgotten actually how difficult it was. The level of projection you have to give is tough. Not everyone can stand up there and do it. It’s far more demanding than people realise. I’ve learnt a new respect for it, people underestimate it.

Also I’d like to always get paid for my work, just on principle. Don’t give me a slap in the face at the end of a long day you know? That’s one of the things I liked about working in America and in Germany. They were very straight forward and I was always paid on time.

Charlie Newman: Lastly who is your role model of the month?
Mouchette Bell: I think Joanna Lumley is great. I like people who can make me laugh. She’s older and she’s sexy and she’s cool. She’s a beautiful woman whose showing that it is ok to have fun when you’re over 50.

Follow Mouchette Bell on Instagram: @mouchettebell

One of Rachel Whiteread’s so-called shy sculptures, ‘Cabin’ (2016), on Governors Island in New York, her first major permanent public commission in the United States

Rachel Whiteread, winner of the 2019 Whitechapel Gallery Art Icon award, has illuminated the world’s art scene with her blazing originality, her wit and her unique perspectives, for more than 30 years. She speaks to Darius Sanai about creating something out of nothing, the joys of London, and the importance of being bored

Rachel Whiteread in her studio, 2011

LUX: Your works create something from nothing. Is it a kind of anti-matter that you are creating?
Rachel Whiteread: That’s exactly right. I’ve always tried to make something out of nothing.
Something I used to do at college a lot was just stare at a white wall or a floor and visualise what I’d want to make from that space. I’d see what it was, so it was still something but it was out of nothing. It’s still a practice that I do, I suppose like a meditation, but I didn’t ever call it that. It was just, you know, staring at the wall.

There’s probably not enough staring into space done now. Everything’s always about looking at images, like on Instagram. Everything is just so full up that what I try and do is empty out. You wouldn’t think it from the chaos of my studio, though.

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LUX: Is there just too much social media around now?
Rachel Whiteread: Yes, I think so. People don’t know how to be bored anymore – I must have been saying this for years. Being bored is one of the most essential things of life, because what you do is you then work out how to not be bored, and by doing that, you open up a creativity in your mind. Even if it’s just deciding that you’re going to cook something or you’re going to read –whatever your creative outlet is – people just don’t do this anymore. They’ll scroll through Instagram instead and look at thousands of everyone else’s borrowed images. I think there’s something to be said about really slowing down the brain; it can be a very useful thing to do.

LUX: Will distraction of this kind affect future artists?
Rachel Whiteread: I suspect it will, but I also think that there’s going to be a backlash to all this and that people will just start to shut down a bit and try to be quieter about what they do, because you can’t just scream and shout about it. It’s hard for young artists. I’ve got two sons, they’re 13 and 17, and it’s difficult for them to be young anymore, to be able to play and enjoy life in a certain way, because you can just turn on the computer and you’re immediately entertained and distracted.

‘Shack I’ (2014), one of two concrete casts of cabins in the Joshua Tree National Park in California.

LUX: How do you decide what to create next?
Rachel Whiteread: Normally one thing leads to another, to be honest. I have had an exceptionally busy year de-installing and installing at the Tate, in Vienna and Washington. I have just come back from Washington where the exhibition has just opened, and also cast a very large piece, another one of my ‘shy’ sculptures, that’s in the Dalby Forest in Yorkshire – it’s a cast of a Nissen hut that’s been made as part of the First World War centenary. I have had a busy time doing all of that, and I am now having a breather before I get going again. I am at the pre-production phase of a new body of work.

LUX: Do you ever consider the reaction to your work while you are planning it?
Rachel Whiteread: I am very fortunate to be in a position to be able to do what I like. There has been a lot of controversy over various works I have made, but this is not something I court, it is simply in the nature of the objects.

‘Cushion’ (2006)

LUX: What gives you the most satisfaction?
Rachel Whiteread: Luckily for me, the show at the Tate gave me an enormous amount of satisfaction. It was five years in the planning and has travelled very successfully to Europe and America including the National Gallery of Art in Washington. I have very much enjoyed doing the retrospective, looking back at thirty years of work – it has been really helpful.

Read more: PalaisPopulaire & Berlin’s Cultural Revolution

LUX: What are your frustrations in making your art?
Rachel Whiteread: It is becoming harder and harder to find large studio spaces. Gone are the days when artists could colonise derelict areas in London. Consequently there is a lack of places for young artists to work. Luckily for me I am able to stay in London and carry out some of the more ambitious things, but it is very expensive. But what are the annoyances? That the day isn’t long enough, that I’m getting older and don’t have quite as much energy – I’ve got a bad back [laughs].

LUX: You’re carting heavy materials around…
Rachel Whiteread: That’s down to years of not looking after my back properly; it catches up with you. You think you’re forever young, especially when people were constantly calling you the YBAs [Young British Artists].

LUX: London – is it an integral part of who you are?
Rachel Whiteread: It’s totally integral to who I am. At one point we looked into moving out to Norfolk or Essex. To get a place with land where I could build a big studio, but I thought, actually I can’t. I need the frisson and busyness of London.

‘Nissen Hut’ (2018)

LUX: What do you love about London?
Rachel Whiteread: I love the multicultural world, the soupiness of London. It’s the one of the best cities of the world. I love the way the people are mostly extremely tolerant of each other. I love the way it’s an enthusiastic city and it has so much to offer culturally – even if you don’t go to that much you still feel it around you – it’s a bit like osmosis, it touches you somehow. I love the green spaces, I love the built-up spaces, I love the Thames, I love the canals, I love the way in which London can have these complex urban spaces and then these very beautiful but still very urban spaces. And so much has been done with trying to get wildlife going. It’s just a great community – a load of really good, interesting villages all stuck together – that’s sort of what London is, isn’t it?

LUX: After so much progress in tolerance over the past few years, are things now going the other way?
Rachel Whiteread: Completely, yes. Terrifying. I hate to think what we’re going to be leaving our children and grandchildren. There’s a sour feeling in the world at the moment and it’s not pretty.

LUX: It’s inexplicable, isn’t it? There are a people with a lot of money feeling angry.
Rachel Whiteread: A lot of it has got to do with Brexit. There are so many people who were sold a line that they just didn’t know what they were voting for. And the reality of that is sinking
in. It’s an appalling waste of money, time and energy – and for what, in the end? In the UK in particular there are a lot of people who are angry in London, and outside London, too, and quite rightly so for being neglected and ignored. Money is not coming in to pay for things that are needed, resources are at an all-time low, and there’s not enough housing. So for all of those things it’s a really complex city to live in, but when things work, they work brilliantly and people cross-culturally can really rub shoulders together and get a lot out of each other and that’s a great thing.

‘Untitled’ (100 Spaces) (1995), installed at Tate Britain in 2017

LUX: Your art has a blend of seriousness and wit – would you agree that this also describes yourself as a person?
Rachel Whiteread: My work is me, I couldn’t make anything else. It is totally me, it’s how I think, how I exist in the world.

Read more: Gender stereotypes and the male nude in art

LUX: Is there a responsibility with your influence? Are you tempted to use it?
Rachel Whiteread: I’ve got two children and a job, and I don’t have the energy for it. Maybe later on. My parents were both very political and it’s certainly in my DNA. The ways I can influence people are by giving lectures, by sharing my work.

LUX: How does it feel to be the Whitechapel Gallery’s Art Icon for 2019?
Rachel Whiteread: It’s nice to be recognised for the many decades of hard work, and everyone likes to be recognised. It is a great honour. The Whitechapel is a fantastic institution doing fantastic things and has such a great and rich history.

‘Holocaust Memorial’ (1995-2000) in the Judenplatz, Vienna

LUX: Do you believe that gallery funding should come from the state?
Rachel Whiteread: When they’re very much community-led galleries, which places like the Whitechapel are, then I would say yes. They’re for a community as they’ve always been. It’s just extremely hard raising money for galleries, and now there are a lot more than there used to be, they all need funding and they all have to find ways of making money. It’s complicated. But they are therefor the public and therefore the government should fund them.

LUX: Does the amount of money being spent in the art market seem strange?
Rachel Whiteread: The whole economics of the art market doesn’t sit comfortably with me. A lot of artists are generally left-ish, and a lot of them find that dichotomy difficult, because it’s a tough thing to think about.

LUX: Is it true that the punk movement influenced your generation in the art world?
Rachel Whiteread: Absolutely. I grew up in the seventies in London, I went to a few punk gigs. They were a bit rough for me to be honest [laughs]. But I was quite young at the time, so I’d go to the Marquee in Wardour Street [in Soho]. The gigs were pretty scary but they had an enormous influence upon me.

‘Monument’ (2001), installed in Trafalgar Square, London as part of the Fourth Plinth Project

LUX: Did you have any idea at art school what kind of art you would go on to produce?
Rachel Whiteread: No, the whole development of making my art was a gradual process, but certainly the seeds were sown at Brighton [Polytechnic] and the Slade [UCL London].

LUX: Did you always plan to be an artist?
Rachel Whiteread: Not initially, though my mother was an artist and there was always a strong familial influence. However, I always imagined that I would have to teach in order to sustain my practice as an artist. I have been very fortunate though, and my art has supported me.

LUX: Was it serendipity that you and the other Young British Artists, such as Tracey Emin and Damien Hirst, were contemporaries?
Rachel Whiteread: It was total serendipity. People say it was a movement, but it just happened to be a certain moment in time where this political and creative energy came out. One of the artists I relate to most is Sarah Lucas. She grew up just down the road from me and I didn’t know her when we were children – we came from very different backgrounds. I was from a middle-class home and she was from a working-class family, but there was definitely the London energy in the work we both made. The YBAs were simply how the stars were aligned and we were fortunate to be doing our work together at the same time.

Rachel Whiteread is the Whitechapel Gallery Art Icon 2019 with Swarovski. Visit whitechapelgallery.org/support/art-icon-swarovski

This article was first published in the Winter 19 Issue.

‘Male Nude Eating Cake’ by Georgiana Wilson

Whilst the female body is a commonplace subject in art and historical discussion, representations of the male body remain limited. Artist Georgiana Wilson discusses the troubling stereotypes cast by the classical male nude

This month, the Royal Academy opened an exhibition of Renaissance nudes that plays up to the current zeitgeist by showing equal numbers of naked males and females. In any large European collection of figurative paintings, the Uffizi Gallery or the National Gallery for instance, one would expect to find rooms full of female nudes, their reclining, smooth bodies without pubic hair and arranged for the male gaze. Feminist activists and art historians have persisted in challenging this discrepancy in the European art canon through academic debate (Griselda Pollock, 1970s), public protest (the Guerrilla Girls, 1980s) and even physical attack (suffragette Mary Richardson in 1914), confronting the female body under the male gaze.

If you walk through such a gallery looking for a vulnerable, male body laid bare in the same fashion as the painted women, you won’t find one. Female genitalia are accurately depicted at least 13 times in the National Gallery’s collection of paintings, but you will see only 3 penises. Similarly, exhibitions, books and essays focusing on the male nude are rare in comparison to the thousands dealing with the female body in art. Why has the female body been given so much attention whilst the male body remains almost unscrutinised in art-historical discussion?

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Perhaps men have not been painted unclothed because until now the patriarchy has stood largely uncontested in the Western world; there has been no call to analyse its presence in painting, whereas from the 1970s the feminist movement has invested in re-examining the female nude. The male body in the history of painting does not appear to have changed much. What one does find on a long walk through the National Gallery are countless heroic, statuesque men in active poses (far from the trope of the passive reclining women) with drapery covering their genitals.

Even when these male bodies are depicted as broken or weakened, for example in paintings of the crucifixion, Pietas, Gericault’s ‘Raft of the Medusa’ or St Sebastian pierced by arrows, they all share a kind of autonomy that commands our gaze. These ‘broken’ men groan or sigh in pain whether we look at them or not, whereas the countless unclothed women rely on the (male) gaze for completion.

‘Meringues’ by Georgiana Wilson

The gendered tropes of European painting reveal a lot about how our societal expectations for men and women have evolved and I find what we see in the history of the nude disturbing. I would like to draw a link between the heroic, powerful modes in which men have been repeatedly painted and the societal pressures for men to present themselves as invulnerable and ‘masculine’. I believe that a form of this prejudice still exists, with damaging effects that can be recognised in all walks of public life, most troublingly in mental health statistics. The finding from the Mental Health Foundation that suicide is the single largest killer for men under 45 in the United Kingdom demonstrates what is at stake when we think about our societal perceptions of masculinity; this restricting perception can be traced through the history of the male nude.

To understand why the male body has been depicted in such an unchanging manner throughout centuries of painting one must look at the influence of the art academies across Europe, artist run organisations that proliferated from the 17th century, whose aim was to improve the professional standing of artists and provide teaching. The Royal Academy in London is a prime example, a prestigious benchmark of the established art world since it was founded in 1768. The practise, revered since the time of the Renaissance, of painting nudes from first plaster casts of antique statues and then posed models was adopted by the Academies, making the life class central to artistic training.

But why has the female nude persisted as the subject of choice when across all the European academies, with the exception of England, female models were not hired until the 19th century, because of the fear of ‘indecency’ (that they might be prostitutes). Since only male models were hired to pose in academy life classes, it is surprising that the male nude hasn’t been explored in more nuanced ways. The type of body that the academies chose for the life classes certainly has something to do with it; soldiers or boxers that resembled the marble heroes of Ancient Greece were picked to model for drawing classes, harking back to the classical ideal upheld by Michelangelo, Raphael and Rubens. In 1808 a group of academicians actually held boxing matches beside the Parthenon Marbles, forging a link between the classical past and contemporary ideals of virile masculinity.

Read more: PalaisPopulaire & Berlin’s Cultural Revolution

Choosing muscular models who recreated the poses of antique sculpture came to acquire a moral connotation in the European academies. Since the mid-18th century, Johann Joachim Winckelmann’s writings that associated the strong, masculine Greek body with virtue and democracy had hugely influenced the conservative art of the academies as well as antiquarian scholarship. This preference for the classical male nude can explain why the naked male body has been depicted in such a rigid manner since the Renaissance: it set a paradigm of heroic masculinity and a conservative, moralising standard for contemporary male viewers.

There is another aspect of the male nude that has remained the same for centuries: it is still comparatively rare and shocking to find a penis in an art gallery. By the end of the nineteenth century in Britain, as women were being allowed to attend academy life classes, unease over the idea of a naked man posing meant that the model was required to wear bathing drawers, then wind nine feet of fabric around them, and finally secure the whole outfit with a belt for maximum concealment. This Victorian prudery was mirrored in the ‘fig leaf campaign’, whereby male statues’ genitals were covered up. A custom-made plaster fig leaf had to be placed on the cast of Michaelangelo’s ‘David’ when it was given to Queen Victoria in 1857, to ‘spare the blushes of visiting female dignitaries,’ according to a curator at the Victoria & Albert Museum. After this, the male nude was censored.

By the 19th century the unclothed male body had become taboo in Europe for its potential to overexcite or shock (female) viewers. I don’t think we’ve progressed far from this. Despite the fact our ‘period eyes’ (M. Baxandall) have become used to the naked female form in mainstream image culture, in the context of an art gallery, pictures featuring male genitalia are still controversial. This was illustrated by an exhibition in Vienna, Naked Men (2012) that presented modern artworks depicting the naked male form. Ironically, the exhibition’s poster, featuring three naked footballers (by Pierre and Gilles) had to be suppressed before the show had even opened. Even recently, a series of advertisements for the centennial show of Egon Schiele’s graphically contorted, erotic self-portraits were censored on Facebook and had to be covered up in public spaces in Berlin and London. ‘The paradox is that we think we live in a very liberated society but the male nude still troubles people,’ said Xavier Rey, a curator of Masculine / Masculine, a Musée D’Orsay exhibition in 2013 that also displayed images of the male body from the 18th century to the present.

It is worth acknowledging another development that has subverted the male nude: outside the conservatism of the European Academies, queer artists were depicting men in intimate, tender and challenging ways. But these works were viewed as marginal and thus had little influence on the 19-20th century mainstream art establishment in Europe. I would argue that such artists are still disregarded. Robert Mapplethorpe was the first artist to exhibit an image of male genitalia in 1977 in a gallery. His nude and BDSM photos of oiled, flexed muscles and submissive male bodies in leather and chains aggressively confronted the viewer’s perceptions of masculinity and sex, but these portfolios are still viewed as ‘obscene’ and ‘on the edge’, despite their hundred-thousand- pound price tags. Other queer artists such as David Hockney have tried presenting the male body as more tender and vulnerable; Hockney’s most famous LA poolside landscapes of flat, bright colour engulf the nude body, distanced in a picture space that curtails any sense of intimacy for the viewer. If artists like Hockney and Mapplethorpe have tried and succeeded in the past, why has the mainstream subject of the male body remained so conservative that a full-frontal male nude in a painting is still considered surprising? Is it because of sexual politics?

Read more: Balmain’s Olivier Rousteing on redefining Parisian glamour

‘Pillowed’ by Georgiana Wilson

We are not used to the vulnerable, naked male body because we do not expect to see men as defenceless or passive. These roles are more normally filled by women: the trope of the ‘Venus Pudica’ as old as Ancient Greece, Titian’s many Venuses, prettily laid out for the viewer’s sensual pleasure on silk cushions, and the commodified women’s bodies of 20th century advertising. What does this say about our ‘Western’, that is Central European, English-speaking society’s definition of gender? Surely today, in our progressive society, when the categories of ‘male’ and ‘female’ are supposed to be moving towards increasingly fluid and non-binary definitions, we should be comfortable with the concept of a, dare I say, ‘feminine’ man? The way in which men are depicted in painting can reveal a lot of our societal prejudices about masculinity, because those very pictures have been shaped by social prejudice.

Today, the heroic male bodies of 19th century painting have been replaced by the trope of the ‘anti-heroic’, fleshy man; Lucian Freud’s portraits of Leigh Bowery and Ron Mueck’s hyperreal sculptures are instances of this. Many of Freud’s male nudes are almost forensically repellent: he scrutinised his subjects intensely until they became as dehumanised as pieces of meat. Ron Mueck’s exaggeratedly detailed sculptures of naked men, scaled up or down, also expose their imperfect physicality, with every enlarged pore or microscopic line of hairs producing discomfiture.

These artists paint a bleak picture of contemporary masculinity, but it is also a prescriptive one in which the strong male body has been displaced in favour of a species of emasculation. Whereas in Western society women are ‘allowed’ to be openly weak, to cry, self-scrutinise and admit vulnerability, men are not. But thanks to Rachel Maclean, Tracey Emin and Cindy Sherman female bodies in art have developed beyond the passive, reclining, hairless trope of the past, into a polymorphous range: powerful, confident, undignified and even funny.

I have argued that the new trope of the un-male male body in art reveals a startling truth about our discomfort towards vulnerability in men. CALM charity, which works on male mental health, states on their website that, ‘we believe that there is a cultural barrier preventing men from seeking help as they are expected to be in control at all times, and failure to be seen as such equates to weakness and a loss of masculinity.’ If we cannot produce and comfortably consume art that depicts tender, powerless male bodies, then we cannot readily conceive of a man as anything other than the invulnerable ‘ideal’ of ‘masculine’ that has, until now, been taken for the norm.

To view more of Georgiana’s artworks, follow her on Instagram @georg.kitty

A look from the SS19 ‘Freedom’ collection by Skeena S

Designer Skeena S

Vibrant, digitally-created prints give Skeena S’s eponymous womenswear label a uniquely feminine and whimsical aesthetic. We speak to the designer about her creative process, inspirations and consumer trends

1. What inspired your latest collection ‘Freedom’?

The SS19 Freedom collection is based on nature, the freedom of being outside and seeing what nature has to offer. From rare butterflies to leopard prints and unique pressed flowers. The most beautiful prints are normally a mix of floral and animal textures.

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2. Does your creative process follow a formula or do you go with the flow?

Normally I research what colours will be on trend that season. From those colours and tones I would look into textures, florals, animal textures and fuse them together. I normally have a visual goal with notes for each print, sometimes they turn out amazing, other times they look odd and won’t be used for the collection. Each season I make between 10 to 25 prints, twelve normally go into production.

SS19 ‘Freedom’ by Skeena S

3. Do you think it’s important to pay attention to consumer trends?

It’s important to stay aware of consumer trends and have them slightly influence collections. If you follow them meticulously then it’s hard to be unique. Designing is about what you want to show the world.

Read more: PalaisPopulaire & Berlin’s Cultural Revolution

4. What advice would you give to a fashion graduate looking to start their own brand?

It’s important to understand the market, understand where it’s going and how consumers are shopping. You need a unique idea, at least nine months of planning and money behind you. Understanding what sector you’re about to enter is the hardest, look at competitors and what they are doing. A brand takes time to build, you need to understand every process and be hands on. Things take time. Go to trade shows, reach out to buyers and get your clothes to influencers that your target market would follow.

Looks from SS19 ‘Freedom’ by Skeena S

5. If you could borrow clothes from anyone’s wardrobe throughout history, who would it be and why?

Diana, The Princess of Wales. By far one of the most elegant women in history, she set so many trends from her insane wedding gown to her elegant evening dresses and her high-waisted jeans and power blazers. Diana didn’t follow trends, she wore what was best for her shape and was elegant and unique, not afraid of colour and print.

6. Where would you like to see yourself in five years?

In five years I would have hopefully set up another brand in the luxury sector, creating another print based brand with more luxurious fabrics. As I am getting older I buy less and more wisely. It’s important for all brands to be sustainable and ethically made.

For more information visit: skeenas.com