The Bürgenstock resort complex sits atop a mountain ridge overlooking Lake Lucerne

At the new Bürgenstock resort in Switzerland, medical science meets luxury indulgence. Darius Sanai gets checked out at the spectacular retreat with high-end dining as well as top doctors and testing facilities

Medical spa. Two words to strike fear into the  mind of any traveller; or into my mind, at least.  For in my experience, such places fall into one of two categories. One follows the pseudo- scientific line: where you are ushered into a world of energy types, detox, alkaline cures and naturopathy. That’s not to denigrate mystical and ancient health rites, many of which might have a positive psychological effect in these stressed-out times, but if I want to know if there’s something wrong with me, I want to really know, not be treated by someone who tells me I need to eat spinach to increase my body’s pH and therefore its alkalinity (if our stomachs were not highly acidic, we would be dead).

The other type of medical spa historically employs real doctors, but in a joyless, alcohol-free environment more akin to a prison camp than a luxury retreat, so, while you may emerge genuinely more healthy and with a good idea of what’s gone wrong with you, you’re also likely to decide you’d rather die young than return.

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So it was with fascination that I approached the Waldhotel at Bürgenstock, in Switzerland. Bürgenstock has a place in European history, as a hotel, once beloved of Hollywood stars (Audrey Hepburn lived here), high up overlooking Lake Lucerne. It was recently developed into a series of super-luxe hotels, including what claims to be one of Switzerland’s best medical hotels, and restaurants, by its new owners from Qatar. I decided to check in for a couple of days for a full checkout; like many men, I have no qualms about spending thousands maintaining my collection of classic cars in perfect shape, but have never even had so much as a spark-plug examination on my own body.

Bürgenstock sent me a very thorough, and beautifully presented, programme. I would stay at the five-star Waldhotel for three days; after my blood was taken on the first day, I would mingle a series of tests and scans (the most important one being a full examination by a cardiologist) with feel-good spa treatments, relaxation in the pools, and some dining in their restaurants.

The pool at the Waldhotel, where medical and spa facilities are combined

The resort is a series of buildings, built out and along from the original Palace hotel, along a ridge some 500m above Lake Lucerne. The sharpness of the ridge means you have two completely different perspectives, as if you are on a movie set. In one direction, the mountain drops away almost vertically, through vertiginous forests, into the lake; from the café terrace of the Palace hotel, you can see boats, quays and summer houses far below, like dolls house parts. The lake spreads out with Lucerne itself sprawling at one end, and beyond, numerous ridges of hills behind which other lakes alternate with forest and meadow, all the way to Germany in the distance.

In the other direction, there is almost no drop at all: just a gentle bowl of high Alpine pasture, fluorescent green, cows tinkling their bells, giving way to forest beyond, and then neck-strainingly high peaks, covered with snow even in mid-summer, in the far distance.

Read more: A VIP ferry ride from Dover to Calais with DFDS

My hotel room had the latter view, which was very relaxing. The room was large, modern and coolly decorated in blonde woods and taupe furnishings, with a big balcony on which you could relax with a cigar at night (having done your lung function test already, of course) and feel the sounds and smells of the meadows.

The medical centre was just a few floors down. My blood was taken efficiently in a lab-like room, and I went off for breakfast on a roof terrace with a wider view of the meadow and mountain side of the resort. There are no hints here that you are in a place where you must deny yourself; the breakfast provided everything from pancakes and omelettes à la carte to home-made cornflakes. I spent the rest of the day swimming in the main pool in the Bürgenstock hotel, a five-minute walk away through the resort, and gaping at the quite astonishing view from its wraparound spa pool which overhangs the cliff face down to Lake Lucerne. Dinner at Sharq, along the ridge, had equally magnetic views, as day turned to dusk and the lights of one of the world’s richest areas popped up all around below us. Sharq serves Persian and Lebanese cuisine, and its khoresh dishes and marinaded grills were as good as any Persian restaurant’s, anywhere. The wine list focuses on Lebanese wine, but you can also order from the main restaurant list.

The entrance to the Waldhotel, newly built in 2017

The next day, Dr Verena Briner, head of the medical centre and one of the country’s most prominent physicians, went through my blood test results with me. Page after page of measurements revealed – nothing at all. I was fine. I didn’t even need an oil change. But that was just the beginning. She handed me over to a consultant cardiologist, who put me through a variety of physical exertions while examining my heart with an echocardiogram. All fine. Next, I was scanned for bone density, and body fat vs body muscle. All fine, despite the Persian meal the previous night. A lung function test was OK also, meaning the cigar was on the cards that night. A full pass, with no red flags, or even yellow lights. After all that effort, I was almost disappointed – but not, of course, and no medical can test for absolutely everything that could be wrong with you – but Bürgenstock did well, all while I was having a fabulous holiday.

On the last night, I celebrated at Spices, the Bürgenstock’s flagship restaurant, which is cantilevered over the cliff’s edge. You could pick between Cantonese and Japanese, and all the lights below added to a Hong Kong vibe. It was astonishing, but true: one of Europe’s most spectacular contemporary luxury experiences is also home to a brilliant medical spa.

Vital Statistics

Dr Verena Briner, Medical Director of the Bürgenstock Resort, on the key elements you have to be aware of to ensure a long and healthy life, and how they are tested

The basic check-up focuses on the most common diseases. The programme includes taking the patient’s history and conducting a clinical examination. We screen for diseases that affect the blood  (eg. anaemia), the liver and kidney, metabolism (such as diabetes and atherosclerosis), and vitamin deficiency. We measure blood pressure, run an ECG, use bone densitometry to identify any risk for osteoporosis and carry out an ultrasound scan of the abdomen. For anyone over 45, a colonoscopy is recommended as carcinoma of the gut becomes more likely as we get older. The lung function test may show signs of smoking-induced damage. Measuring body mass index and body composition is important, too, as obesity often leads to high blood pressure, diabetes, impaired lipid metabolism, sleep apnea (snoring) and arthrosis in the joints.

We check also for cardio-vascular diseases, of which the majority of the population of the Western world die. Since the development of interventional cardiology, people rarely die from a sudden heart attack but are much more likely to have a chronic condition such as atherosclerosis of the blood vessels, which may be treated with drugs, angioplasty, stents or bypass operation. The risk factors that accelerate atherosclerosis include high blood pressure, diabetes, being overweight, smoking, high cholesterol, and little or no physical activity. A history of coronary artery disease in the family increases the chance that the patient will develop it as well. The cardiologist supervises a stress test and uses echocardiography to spot any impaired heart muscle function. If there are signs of reduced blood flow in the coronary arteries, we recommend a coronarography or a heart CT scan.

The Waldhotel works with the Lucerne central hospital where this can be done. Anyone short of time may prefer to come to the Waldhotel Medical Centre where we can organise all the tests during their stay.

Book your stay: buergenstock.ch

This article was originally published in the Winter 19 issue.

Instagram: @nelis_vansia

Has Instagram been taken over by fake follower fever, banal mirror selfies and blatant product promotion? Not if you’re one of the new wave of creatives, eschewing follower numbers and influencer labels and doing it their own way, says Bryony Stone

A LUX x ROSEWOOD COLLABORATION

Instagram is in danger of eating itself. More than eight years after it was founded, what started as a photo-sharing app morphed first into a badge of cool among first movers and later into the biggest photographic movement in history. People’s self-worth, and tragically sometimes their lives, can hinge on followers and likes, and a generation of self-declared influencers (if you think about it, that can’t really be a job) are creaming fortunes, large or small, from their commercial posts. Kim Kardashian West and Kylie Jenner, two members of the Kardashian clan, boast a collective total of 236 million followers, which, while there’s almost certainly overlap, still constitutes just over three percent of the world’s population.

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It’s unsurprising that scrolling through Instagram is starting to feel like falling head-first down a rabbit hole into a wonderland where everything is #sponsored. Wasn’t that new influencer in Fendi wearing Prada yesterday and Gucci the day before? Does he really have 871,000 human followers? And who actually looks perfect all day, every day anyway?

Yet, under the radar, a new wave of Instagram stars is emerging. Forget fake followers and paid-for posts: these creatives are more interested in contributing to the real culture in the cities around them, and in the aesthetic of what they can create on what is still a remarkable visual medium. From Paris to New York, Hong Kong to London, meet four individuals who are redefining the Insta scene from the inside out.

Instagram: @de3ng

@de3ng, New York

Sudan-born, New York-based Deng Duot Deng describes himself as a “muse, model, creative director and casting director”. He has his own clothing line called Dengwear and posts crafted images with a casual feel that combine his passions: design, football and streetwear.

Describe your Instagram style: “Grounded in the nuances of street style and culture.”

How has the platform changed your life? “It’s a way to interact and connect the dots. I can see my common interests [with other users] as well our different tastes in art, fashion and culture. Through Instagram I’ve been featured in a campaign for Apple and a lookbook for Yeezy x Adidas.”

Instagram: @de3ng

Do you consider yourself an influencer or something else? “I’m a brand and a trendsetter.”

Why do you think people follow you? “I’m pretty authentic on my profile; I genuinely

express how I feel, but with a creative touch. Being natural makes a good image and keeps my followers engaged.”

What’s your favourite recent Instagram image? “A picture of my niece and I after her baptism. It was a beautiful moment.”

What are your New York hangouts? “Different creative spaces… I like to explore.”

What do you love most about New York? “The abundance of creativity – and the opportunities that can come from something as simple as walking into a bodega.”

Read more: Canary Wharf Group’s MD Camille Waxer on urban transformation

Instagram: @nelis_vansia

@nelis_vansia, Hong Kong

Instagram: @nelis_vansia

A former woodworker turned videographer, Hong Kong-based Nelis Vansia works at fashion-focused digital-media company Hypebeast. In his free time, he shoots intriguing, moodily lit films and stills that showcase the spirit of the city.

Describe your Instagram style: “Go with the flow. I like to capture everyday life.”

What’s Hong Kong’s creative scene like? “It’s a really tough place to survive creatively because the city is mostly focused on making money. You have to be tough here to do your own thing. But thanks to the internet, Hong Kongers are becoming more exposed to art and creation.”

Why do you use Instagram? “At the beginning, it was personal. Now, I’m posting videos and photos to build my own brand.”

Instagram: @nelis_vansia

Do you ever meet your followers in real life? “Half are my friends, and the rest are interested in the things I do. When I meet followers at events it can sometimes be awkward.”

Where do you go for downtime? “Hong Kong is so dense, but outside the Central Business District there are undeveloped areas such as Sham Shui Po where the pace isn’t as fast. Here, I can slow down and see everything clearly.”

What’s your favourite recent Instagram shot? “It’s a picture of Ydizzy, a rapper from Japan. I randomly bumped into him on the street chilling by the road and smoking and I asked if I could take a snap of him.”

Instagram: @Neptunes2000

@Neptunes2000, Paris

Instagram: @Neptunes2000

Jean-Yves Diallo is a Parisian street-style star, creative director and model with a penchant for whiplash-inducing outfits and creating conversation-starter, tongue-in-cheek images.

Describe your Instagram style: “Hybrid and colourful. I’m always adding new colours and patterns.”

Why do you post on Instagram? “To show people that you don’t necessary need big brands to break the regular codes and that only you make the image. I take pictures in the subway, in the streets, in ghetto apartments… you just need to be yourself.”

Instagram: @Neptunes2000

How has it opened doors? “I’ve extended my fashion network, but I’m careful with what I post. You can get lost by posting too much. People follow me because I have my own wave; I mix and match and don’t wear mainstream brands.”

Do you feel that you’re an influencer? “I consider myself more of an icon. I don’t want to influence people and all my life doesn’t turn around the app.”

What’s the creative scene like in Paris? “It’s heavy here, but people are too inspired by other countries and too conformist. They need to let their imagination speak out.”

What makes a great image? “I style and direct my own shoots so it’s all about the angle and light. Then I add my vibe to make it unique.”

Read more: Why creatives need to understand tech

Instagram: @edozollo

@edozollo, London

Instagram: @edozollo

Italian photographer Edo Zollo has been living in London for close to two decades. His low-lit and occasionally ominous images – which are always taken after dark and capture quiet moments and corners – showcase a side to the city that’s not often noticed.

Why do you post on Instagram? “Instagram feels like a small community because followers interact and share my passion for photography, but at the same time, it allows my images to reach a wider audience. My followers motivate me to go out in the dark and take pictures.”

Why do you think people follow you? “I’d like to think that my shots are mysterious; a bit [like] Hitchcock’s Rear Window.”

Where do you go in London to take a good image? “I don’t have a specific location. I’m mostly out at night. Once I’ve found the spot, I wait until someone with just the right amount of mystery comes along.”

Do you consider yourself an influencer? “I’m more someone that offers an alternative view of London.”

Instagram: @edozollo

What do you love most about London? “That it constantly changes! There’s always something new, something that changes your way of thinking. Also, it’s nearly impossible to be bored. Everything is here: entertainment, food and people from nearly every culture, and so your imagination is free to flow.”

Where do you like to hang out in the city? “House parties are my thing right now, but when I want to be alone, the streets of London at night become my secret spot.”

HÔTEL DE CRILLON, A ROSEWOOD HOTEL

Hôtel de Crillon in Paris is a grand microcosm of the City of Lights: a historic palace that is one of the city’s landmarks, and also a contemporary home for guests. As Paris develops its thrilling contemporary art, food and culture scene, atop the cultural riches and business powerhouses that sit the city atop the world’s fashion ladder, Hôtel de Crillon is, literally and metaphorically, at the heart of it all.

Book your room at: rosewoodhotels.com

This article was originally published in the Winter 2019 issue.

Night time skiing on Corvatsch Mountain, St. Mortiz

It’s been another winter of fantastic snowfall, and Darius Sanai is dreaming of his favourite location in the Alps, and the vibe at the Kulm hotel in St Moritz

It’s been another early winter of record snowfalls in the Alps, particularly in the eastern and northern tranches of the range. So it’s a perfect time to plan your impromptu visit to the mountains, and January and early February will be beyond perfect this year, with excellent snow and the customary lack of crowds that this part of the season brings, before the school holidays in mid-February change the tone.

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One of the saddest sights is to see couples and families split for ski weekends, with non-skiers staying at home. If you’re going heli-skiing in Canada, there may be nothing for your other half to do, but take a trip to one of our favourite hotels in one of the most wonderful parts of the Alps, and it might be that, at this time of year, as the events diary bristles, it’s the non-skier who makes the skier in the party jealous.

St. Moritz Polo World Cup on Snow, 2013

The hotel is the Kulm, the fabulous contemporary-classic grande dame of St Moritz’s. The area is famed for its range of activities for both skiers and non-skiers. This weekend sees the legendary Snow Polo on the lake of St Moritz (where the Kulm, has its own special stand where you can graze on gourmet delicacies and sip champagne all day). Happening simultaneously nearby are the Engadin Art Talks and the Snow Golf Championships, followed next week by the horse races in the snow, and the Grand National Cresta Run…

Read more: The history of TAG Heuer’s motorsport romance

All of that combined with the usual glories of the St Moritz-Pontresina area, including several challenging ski mountains, and the fur-lined nightlife.

The indoor pool at Kulm’s spa

Kulm’s style is old-world elegance meets contemporary

But what we love particularly about staying at the Kulm is its sense of old-world grace – and its facilities. The spectacular pool has picture windows looking out over the forest and valley, rooms have a similar view. The classic restaurant and bar areas make you convinced that David Niven is going to pop out from around the corner. The rooms, meanwhile, have a very contemporary vibe, while not letting up on the rich Swiss luxe. You feel like a traveller in the mountains, taken care of at a real grand hotel, with options of everything from cross-country skiing to spectacular black runs, from watching the horses to chilling in the vast spa. The hotel is just a whisker above the crowded part of St Moritz (and a three minute walk from Pavarotti’s, our favourite spot for an après-ski Franciacorta) …and did we mention, the snow is fantastic this year?

Book your stay: kulm.com

The DFDS ferry from Dover to Calais only takes 90 minutes, but with beautiful views, good food, and the comforts of a VIP lounge, you’ll wish the journey was longer, says LUX’s Editor-in-Chief Darius Sanai

What is the most curious new development of early 2019 was a report stating that sales of paper maps are actually increasing. The report quoted extensively from the august merchant of the world’s greatest and most detailed maps, the cartographers Stanfords of Longacre in London. Apparently, in the era when your phone contains not just a map but predictions for exactly you should be doing in the confines of that map, the lure of the paper map is increasing, not decreasing – in some cases, anyway.

On the face of it, this seems bizarre. Why would we need a foldout map, when everything you might have a need to know about a journey is stored inside your phone, and by tapping your destination, it will not only tell you how to get there, it will tell you exactly how long it will take you to get there and how many people recommend the fish pie at each restaurant en route. Astonishing progress. Or is it?

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The iconic white cliffs of Dover

Your electronic devices all about maximising the efficiency of delivering a certain message in a certain way. Yet the art of travel is precisely the opposite. Your journey is not data to be downloaded in a microsecond. It is something to be indulged in and appreciated in itself, not simply a means to an end.

These days, there are many very efficient ways to get from Britain across the continent of Europe (Brexit aside), including a plethora of travel by aircraft to different hubs, high-speed trains, and of course the tunnel under the Channel. But all of these assume that the two points of interest in your journey are the beginning and the end, and nothing in between. Or, in the case of the tunnel, assuming that the speed with which you get from one side of the water to the other is more important than what’s above.

Read more: Ingenuity is crucial to human destiny

Until relatively recently you might have been forgiven for avoiding the option of ferry travel, as the vessels that sailed from the UK to France were not the most sophisticated, even though they had their own romance. So, recently, on a DFDS ferry from Dover to Calais, we were both delighted and astonished. An efficient cafeteria served a selection of French-biased food (real vegetables, properly cooked, accompanying meats of various types) which you could take and eat at your leisure in the refectory overlooking the stern of the ship. France, to start with a line in the distance, became a distinct outline of cliffs, beaches, and buildings by the end of the meal.

Meanwhile, a walk round to the outside deck at the back revealed the cliffs of Dover, slowly fading into the haze, as we left the seagulls behind.

The VIP lounge offers a comfortable space for travellers to relax and enjoy the views

But the most compelling aspect of all, besides the views, and the sense of reality that you are crossing a body of water between one part of the continent to another (a body of water that has proved the difference between independence and conquest for Britain since 1066), was the simple comfort of the VIP lounge. Here for an extra fare, you can relax in absolute silence on the array of sofas and help yourself to a selection of drinks and snacks. And read magazines and newspapers while watching the world go by for the windows. As an element of a long journey, it is a real respite break for drivers and passengers. It is not inaccurate to say that we were rather disappointed with the announcement that came after just over an hour into the journey, that we would soon be disembarking at Calais.

And there’s the rub. Taking the ferry is actually barely any slower than going underground when all the elements of boarding and embarkation are taken into account. If it’s rough, you may wish to spend a bit more time outside, but you still feel like you have been somewhere, properly traveled, rather than simply been transported. We will be doing it again this summer.

Book your journey: dfdsseaways.co.uk

Enzo Ferrari (seated) being greeted by Jack Heuer in 1974

Famed for its relationships with key drivers in the 1960s and its innovation with the Ferrari F1 team in the 1970s, TAG Heuer is now working with Aston Martin and Red Bull Racing. Jason Barlow explores the Swiss brand’s new world of creative horological engineering

The firepower in a Formula One team isn’t solely derived from the car’s hybrid powertrain or its drivers. Alongside arguably the hottest young talent on the grid, Max Verstappen, Red Bull Racing has established a formidable array of partners. Prominent amongst these are two names that combine contemporary global brand equity but also pulse with historical resonance: Aston Martin and TAG Heuer. For students of such things, this triumvirate is one of the most powerful in world sport.

The first fruit of the relationship is a beautiful Carrera Calibre Heuer 01 chronograph, the Aston Martin Special Edition, whose dial is skeletonised by a pattern of hexagons that delivers an aesthetic parallel to the distinctive design language used on the latest Aston Martin Vantage, while a black brushed-ceramic tachymeter bezel and PVD-treated case with a sapphire window to view the movement bring TAG Heuer’s signature design features to the fore. (The collaboration has also yielded a second watch, the more affordable Formula 1 chronograph.)

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These are exciting times for Aston Martin and new avenues are opening with bespoke collaborations with iconic brands such as Red Bull Racing and TAG Heuer. Formula One offers the ultimate global stage to build awareness of the carmaker’s brand and the relationship with Aston Martin Red Bull Racing has created the revolutionary hypercar, the Aston Martin Valkyrie.

The Tag Heuer Formula 1 Aston Martin Racing Special Edition watches in the cockpit of a 2018 Aston Martin Vantage

Of course, cars and watches are a pairing that, if not as old as time itself, certainly go right back to the earliest days of the automobile. What is a chronograph if not a technically complex machine strapped to your wrist? In a watch with a fine mechanical movement, the interaction between the tiny chains, gearwheels and axles (or arbors) operates with the same sort of thrilling alchemy that you find in an internal combustion engine. Some of the techniques go much further back in time, and by a considerable margin: the fusee, a conical device which reduces inconsistencies in the mechanism’s torque curve, can be spotted in the drawings of Renaissance designers and artists such as Leonardo da Vinci and Filippo Brunelleschi.

Edouard Heuer’s dashboard-mounted Time of Trip chronograph first made in 1911

Motor racing is obviously a rather more recent phenomenon, and although other brands have worked the angles, TAG Heuer was the first to make the connection. Edouard Heuer’s dashboard-mounted Time of Trip chronograph, designed for use in cars and biplanes, appeared in 1911. In 1916, the Mikrograph arrived, a stopwatch with the ability to measure time to an unheard of one hundredth of a second. The expertise of the Heuer Watch Company soon extended to other big sporting events, including the Olympics, and by 1958 it had unveiled the Rally-Master, a dual-face device which featured a Master Time eight-day clock and a Monte Carlo stopwatch. Star drivers had also begun to appreciate the wristwatch as an appropriate accessory, and Juan Manuel Fangio was an early adopter.

But it was during the 1960s that the story intensifies, particularly when it comes to the Carrera names, originally derived from the legendary, and frequently deadly, 1950s Mexican road race, the Carrera Panamericana. Jack Heuer, Edouard’s grandson, takes up the tale:

Jack Heuer

“I first heard about the Carrera from Pedro Rodríguez at the 12 Hours of Sebring endurance race,” he recalls. “The officials were members of SCCA [Sports Car Club of America], voluntary guys, and I supplied them with their timing equipment.” Heuer was busy developing the world’s first self-winding chronograph at the time (the Calibre 11 automatic chronograph would arrive in 1969) and was searching for the right way to promote its new creations. “We were too small to go full blast with big advertising worldwide,” Heuer told me. “So I said, maybe we should try PR.”

This was a master-stroke, as it turns out. “The Rodríguez brothers were racing with Ferrari, and they were still so young they were travelling with their parents. Pedro and his brother Ricardo were two of the fastest, smartest and bravest endurance drivers of all time. To hear them talk of the Carrera made my imagination soar. Just the sound of the name itself – elegant, dynamic, easily pronounced in all languages – was charged with emotion. I thought, that’s a good name for a watch.”

Read more: Mollie Dent-Brocklehurst on the art x technology revolution

Porsche, of course, had been using the name on model derivatives since 1955, and it was one of the company’s drivers, Jo Siffert – also known as ‘Seppi’ – who really established the Heuer name in motorsport. The son of a poor Swiss farmer, Siffert hustled his way into F1, and signed a deal with Heuer in 1969 to become the company’s official brand ambassador. Significantly, this was the first non-automotive personal sponsorship deal in F1 history.

Siffert had been a Heuer fan for years and was even buying watches at cost price and then selling them to his colleagues in the pit lane. Though more closely associated with Heuer’s Autavia chronograph – colloquially known as the ‘Siffert’ by its many fans – it was his partnership with Porsche in the world sports car championship that secured Siffert’s legendary status, but also granted Heuer’s Carrera and Monaco chronographs the untouchable status they still enjoy 50 years later amongst racing and watch fans.

Top: Steve McQueen in the film ‘Le Mans’ in 1971. Here: the Heuer Monaco watch the actor is wearing

There is another factor we can’t overlook, however, one that’s reeling in a new generation of clients who have probably never heard of Jo Siffert. They all know the movie star Steve McQueen, however. In 1970 he was at the height of his box-office powers, and McQueen embarked on a passion project that was an ode to the famous French endurance race, the Le Mans 24 hours. The actor had first met Siffert at the Sebring 12 hours race in 1970. Along with Derek Bell, Siffert had been hired to teach McQueen how to drive a Porsche 917K for his role in the film Le Mans (1971), and although the prop master had already approached Jack Heuer about supplying watches for the film, Seppi happened to be wearing one of his anyway – a Monaco. When the film’s director, Lee H. Katzin, urged McQueen to finalise his character’s appearance, he replied, “I want to look like Jo, because he’s a real racer, a real pro”.

McQueen, the Heuer Monaco and Le Mans: it’s the gift that keeps on giving. But at least it was real, as Bell remembers. “I thought Steve drove very well. In fact, he was probably better than we all realised. He was driving that Porsche 917 around Le Mans, after all, pretty much flat out down the Mulsanne Straight, and people were scared of that car. I don’t recall him even testing it beforehand. It really was a hell of an era.”

Read more: Why now is the time to go to Sabi Sabi, South Africa

Bell continues, “I suspect he’d find the mythology that has grown around him hilarious. He was so laid back, there was no sense of the superstar thing, and that’s what came across to us the whole way through. He didn’t want to be an actor, he wanted to be a racing driver. Every spare moment he had, he’d sit with us.”

Jack Heuer, meanwhile, didn’t rest. In 1973, he did a deal with the biggest motorsport name of all, Enzo Ferrari, becoming the Scuderia’s official time-keeper, both in Formula One but also at the then recently constructed Fiorano circuit. New track-side photo cells combined with a device called the Le Mans Heuer Centigraph gave Enzo Ferrari the edge he was so adept at finding.

“Our agreement with Ferrari was key, because it is still the biggest marketing coup we ever made,” Jack Heuer says. “Ferrari was a myth and still is. I was the same age as Enzo’s lost son Dino, and I just seemed to connect with him. He was a great salesman, though, and a ferocious negotiator. He would always push for more than we could really deliver. We supplied engraved watches to all of Ferrari’s drivers in that period. It was a fantastic time.”

And a pioneering one, too. Whether by accident or design, TAG Heuer’s motorsport roots run deep, and they run true. Quite simply, it’s why we love their watches. The alignment with Aston Martin and Red Bull Racing promises to put the brand right back at the sharp end of the grid once again.

Discover the collection: tagheuer.com

TAG Heuer brand ambassador Cara Delevingne on set in South Africa for TAG’s latest campaign

Don’t Crack Under Pressure

British model and brand ambassador Cara Delevingne  travelled to the South African savannah for TAG Heuer’s latest campaign. Working with Kevin Richardson, nicknamed ‘The Lion Whisperer’ for his unique relationship with the predators, the shoot required Cara to pose for the camera while a male lion approached in the background — truly testing the brand’s ‘Don’t Crack Under Pressure’ motto. “There isn’t any human or animal on this planet that hasn’t felt pressured,” comments Cara. “Pressure doesn’t have to be a bad thing… it’s how you work under that circumstance.”

Still, working with wild animals isn’t without its dangers. Photographer David Yarrow shot from inside a cage, whilst Cara was called back to safety each time the lion came too close, allowing only a few seconds for each shot. The result is a series of strikingly raw monochrome images, one of which was auctioned off for £120,000 with the proceeds being donated to the Cara Delevingne Foundation, which supports young woman all over the world. “In this visual, Cara is shown as powerful, courageous, audacious and commanding of respect,” says Jean-Claude Biver, TAG Heuer’s CEO. “I hope her attitude and engagement with her foundation will inspire many around her to do things differently, to innovate, to take risks.”

Watch behind-the-scenes footage from the campaign:

Millie Walton

This article was originally published in the Winter 2019 issue.

‘Shabdiz and Gholghoun, horses of Persian poetic myth;’ Hana Louise Shahnavaz (2018)

Are you a scientist or an artist, a genius or a poet? Do you really have to choose? Perhaps humans are more rounded than that. Some of the world’s leading scientists tell us about their favourite poets, cutting-edge poets nominate the scientific geniuses who changed the world

A LUX x ROSEWOOD COLLABORATION

Genius: Douglas Eck

“I studied English literature as an undergraduate, so I read a lot of poetry at that point in my life. I like structure, so I’m drawn to poetry that plays with metre and rhyme such as Elizabeth Barrett Browning’s love sonnets. I also enjoy the work of American poets Elizabeth Bishop and Ezra Pound. I could [also] go on for hours about lyrics, particularly from artists such as Kendrick Lamar, Joni Mitchell, Jay-Z, Tom Waits, Björk and Georges Brassens.” For an artist to be successful, Eck believes, “They must create something new that extends our understanding of the world around us, persuading us to think differently.”

Principal scientist on the Google Brain team in San Francisco, Douglas Eck spends his days working on Magenta, a research project exploring the role of machine learning in the process of creating art and music.

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Poet: Sabrina Mahfouz

“The concept of a singular genius to me is something very male – that one person can have a great idea and that all the hundreds or thousands of people responsible for making it happen can get pushed into anonymity! I believe in collective genius but not in an individual one. What’s happening in the worlds of technology and activism seem to be the most illuminating examples of collective genius around today – both areas which inform and inspire my own work constantly.”

An award-winning writer, playwright and poet, Sabrina Mahfouz is one of the most exciting voices on the creative arts scene today.

Genius: Richard Sargeant

“I don’t foresee my favourite poems in my battered copy of Francis Turner Palgrave’s Golden Treasury ever being replaced by AI, because we don’t buy art for its function, but for its story and experience. I might admire poems for their cleverness, but I love them for the character they reveal. I love Milton’s courage in the face of his blindness (which is described in his poem When I Consider How My Light Is Spent) and G.K. Chesterton’s joyful humility in the epic The Ballad of the White Horse.

“As with other art forms, it isn’t ultimately the quality of the stanzas, but the resonance of the experience that stands behind them that gives poetry its purchase on our mood and our imagination. In poetry, the spirit of the work is the essence of what we value.”

Richard Sargeant is chief commercial officer at ASI Data Science, a leader in the application of machine learning and artificial intelligence to real world business and public policy problems. The company was listed on this year’s Tech Track Ones to Watch

Poet: Hollie McNish

“I recently watched the American biographical film Hidden Figures, so right now the three geniuses inspiring me are the mathematicians who worked in Nasa during the space race: Katherine Johnson, Dorothy Vaughan and Mary Jackson. I am so fascinated by this sort of mathematical brain. Saying that, I’m not sure how I feel about the idea of a genius. The first idea I had of this concept was Roald Dahl’s Matilda. But after that, in all my education and university life, geniuses – until this film– were so strongly aligned to the white male that I found the concept almost ridiculous.”

Performance poet and writer Hollie McNish has published five books of poetry, including ‘Nobody Told Me‘, which won the 2016 Ted Hughes Award for New Work in Poetry

Read more: Philippe Sereys de Rothschild on fine wine & supporting the arts

Genius: Ian Blatchford

“Poetry has a rapier-like quality, revealing our emotions, motives and sometimes hubris,which is why I love the work of John Donne so much. You can find it in science too. I like to think mathematics is the poetry of science,a kind of haiku in which you can spin a whole universe and its destiny out of a few symbols.”

Ian Blatchford has been director and chief executive of the Science Museum Group for the past eight years. Previously he was deputy director of London’s V&A Museum

Poet: Rosy Carrick

“Nikola Tesla was the Serbian-American inventor and electrical engineer who was best known for his contribution to the design of electric currents. What’s interesting about Tesla is the line between creativity and insanity. Often the work of a creative genius can seem like magic or craziness but we realise later that it is someone simply ahead of their time.”

For the past eight years, writer and performer Rosy Carrick has been a co-host of the Latitude Festival poetry stage and also co-curates the Port Eliot Festival poetry stage.

THE CARLYLE, A ROSEWOOD HOTEL

New York is a city steeped in poets, from the likes of Walt Whitman and Allen Ginsberg to today’s virtuosos on the slam poetry scene. The Carlyle Hotel has the great fortune to have a legacy in both camps, as legend on the Upper East Side, home to the city’s aristocracy, and for its Bemelmans Bar, famously decorated by illustrator extraordinaire Ludwig Bemelmans.

rosewoodhotels.com

This article was originally published in the Winter 2019 issue

By Greg Williams

A LUX x ROSEWOOD COLLABORATION

Greg Williams

In recent years, ambitious parents have added a further endeavour to the list of educational activities they believe will enhance the character of their children. Along with music lessons, chess and languages, coding has become a must for any child whois to compete in the global economy of the future. No longer is it acceptable to master the Suzuki violin method or be proficient with an épée, no, the corporate titans of the future must also be armed with a fully developed grasp of the programming language Python. Tiger mothers from Cupertino to Chelsea compete to secure Imperial College computer science graduates as tutors, fearful that their children will be left behind by the merciless advancement of AI and quantum computing.

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There is some truth to large numbers of young people needing to be proficient in STEM skills. But it isn’t the whole picture. As it has floundered from one recent catastrophe to another, Facebook has demonstrated at in ear to deficiencies in its business, from culpability in undermining the democratic process to data privacy. Founder Mark Zuckerberg’s response that he would ‘fix’ Facebook demonstrated his engineer’s mindset. Having leadership capable of empathy and creative engagement would have served it much better than the obfuscation and platitudes that have become its hallmark.

Technical, scientific and engineering skills are crucial for economies, but so too is the underpinning of all discovery: language. Many in the technology industry believe that coding will soon be done by machines themselves, making much of what humans do today obsolete. What will remain crucial for our advancement are the skills that existed long before the concept of the programmable computer: human creativity and ingenuity. It’s what will determine our destiny.

Six ways to get technical:

1. Realise that it’s not just you; everyone else is also trying to understand what digital transformation means.
2. Ignore jargon. If it can’t be explained simply,you probably don’t need to know about it.
3. Don’t be afraid of the new.
4. Assume big tech is not your friend.
5. Stay curious. You have access to every piece of information ever, why follow Kylie Jenner?
6. It’s not really about technology, it’s about human beings.

Greg Williams is editor in chief of WIRED

This article was originally published in the Winter 2019 issue.

By Dylan Jones

A LUX x ROSEWOOD COLLABORATION

Dylan Jones

I remember the very first time I met Jonathan Ive [Apple’s chief design officer], 15 years ago, at the old Design Museum near London’s Tower Bridge. It was a winter’s evening and we were sipping entry-level sauvignon blanc and eating overly complex finger food as we stared across the Thames and compared notes on how our respective companies were working together.

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We were talking about the need for creatives to work more collaboratively with those in the emerging tech sector, and, obviously, why it was imperative that ‘tech-heads’ (his term, not mine), should seek out more creatives. A decade and a half later, the penny finally seems to be dropping.

I have long been involved in discussions with creatives about how the big tech companies still think they can get away with treating content providers like serfs, but not only does this situation look as though it is slowly changing, but also it seems that far more people in tech are now reaching out to the creative industries. Not because they still desperately need content, but more importantly because they understand that in order to build long-standing editorial propositions, it is vital for both sectors to work hand in hand. Which means that the creative sector as a whole needs to be more responsive, and perhaps even more proactive in reaching out to tech, in order to start building for the future. It is no use pitching editorial against delivery systems, as they both need each other, more so now than at any time in the past.

Almost unbelievably, there are still those on both sides of the divide who think that one can work without the other. But more fool them. The future is bright and the future is exciting and the future is right here under our noses, but there is little point in trying to embrace it alone.

Six ways to get creative:

1. Build a proposition that partners can co-own.
2. Never clip your own wings.
3. Be transgressive as well as transformative.
4. Listen more.
5. Ask more questions.
6. Own the data.

Dylan Jones is the editor in chief of British GQ and menswear chairman of the British Fashion Council.

This article was originally published in the Winter 2019 issue.

‘Inside Out, Au Pantheon, Nef, Paris, France’; by JR (2014)

It’s not just the consumption of art that is being revolutionised by technology; it’s all about the democratisation of who can become a creative, and the effect this can have on society, says Mollie Dent-Brocklehurst

A LUX x ROSEWOOD COLLABORATION

Mollie Dent-Brocklehurst

A few years ago, I became aware of teamLab, an extraordinary group of  artists based in Tokyo. They have over  500 members in their organisation, and they  come from all walks of life. When you meet  them and exchange business cards, you will find one might be an architect, one might be a programmer. It’s quite an astonishing  group, all working together to create these amazing visual experiences. At the time, they had had numerous exhibitions in Japan; their immersive interactive digital works result in hugely colourful exhibitions.

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Most of their subject matter is based on the natural environment: they create flowers, birds, trees, fish, butterflies and waterfalls, and the viewer becomes part of the experience of the exhibition. Through the way in which their algorithms work, the artworks respond to and interact with visitors. Some of the pieces are very large, such as one in Tokyo where you roll up your trousers, take your shoes off and walk across the floor, and (digital) fish touch you, swim around you and swim away. In these exhibitions, the work is programmed at the start of the exhibition, but is influenced by the visitors. The artist stops having control from the moment the first visitor appears, which moves things on from the repetitive visual loop you would see in earlier video art displays.

teamLab digital art installation ‘The Infinite Crystal Universe’

It was when we [Pace Gallery] were hosting a show in Palo Alto, California, by teamLab, in the old Tesla factory, that it became evident that the old ‘white cube art gallery’ model was not the way to support artists such as these. The exhibition was ticketed, the space was huge, and it travelled to London and Beijing; its size and reach were beyond anything a traditional private gallery could host, as it had large-scale public appeal.

Tech engineers and programmers creating art is a major change for the future of creativity in general, and the art world in particular. Five or 10 years ago, I felt the art world to be slow on the uptake of technology. These artists are now creating a new world of art through technology, understanding the tools you need to bring the disciplines together. You have teams of people with science and technology backgrounds and others who have studied art together in a studio – people with sharply different backgrounds and skill sets. It’s unlikely you would have had engineers in an art studio just a decade ago.

Read more: Canary Wharf Group’s MD Camille Waxer on urban transformation

This means that participation is no longer just about the art world; we are reaching a much broader audience. Previously, the art world was confined to a very small percentage of people. Now the reach of these new types of art is much broader; through social media, millions are seeing it, and millions are visiting exhibitions by artists such as teamLab, JR or Random International. Studio Drift, a team we work with in the Netherlands, has just had an exhibition at the Stedelijk Museum in Amsterdam, which was one of the most-visited shows the museum has ever done.

They have a much wider reach than a typical contemporary art show. This in turn means there is a whole new category of people experiencing this kind of creativity, who wouldn’t go to see a show of works on canvas. It opens doors to new audiences, and it also by extension gives the opportunity for people to start to see themselves as artists who may not have otherwise considered doing so.

Here and above: ‘Trancending Boundaries’ by teamLab

We are in a moment in time when much is changing. Groups of artists have a much bigger reach, they are involved in conversations around nature and sustainability and technology, and all these artists care very much about how art can be part of people’s lives, moving nature into the built environment, and seeing how nature can be incorporated into modern life.

With FuturePace (through which we represent artist groups like these) and our partner Futurecity, we are involved in conversations with airports, cities and placemakers. There is a public realm element to it, lifting people’s lives with art experiences. JR, for example, is not just a street artist. He has a message he wants to convey, he is understood by a very broad swathe of people (he has 1.2 million Instagram followers) and his work has the power to transform societies. He has worked in favelas in Brazil, set up schools, started projects to feed homeless people, and worked against gun crime. He has seen that art has the power to speak to people and transform. He is very passionate and energetic in what he does, and he deals with art that is aimed to be visible to the many, not the few. And his art is not just for the wealthy. The democratisation of art is the next frontier, outside of the world of the galleries. It is an inclusive movement, inclusive of people who can make it and also of those who can consume it.

Mollie Dent-Brocklehurst is a former president of Pace London, the international gallery group, and co-founder of FuturePace, a collaboration between Pace and the placemaking city developer Futurecity. Find out more: future-pace.com

This article was originally published in the Winter 2019 issue. 

The safari deck at Selati Camp with views across the bush

Why should I go now?

Whilst the frost is settling over Europe, it’s summer in South Africa and the sun is scorching.

The Sabi Sand Wildtuin is an unfenced private game reserve stretching a massive 60,000 hectares of pure, uninterrupted wilderness. It’s situated adjacent to the Kruger National Park and is regarded as one of the top safari destinations in the country; home to the Big Five (i.e. lion, leopard, rhino, buffalo and elephant) and over 200 other animals.

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Aside from the game drives, “Tshamakahle”, “stay well” in Shangaan (the local language of Sabi Sands) is the only item on the To Do list.

The Ivory Presidential suite with a private plunge pool

What’s the lowdown?

The Selati Camp is one of four luxury all-suite lodges at Sabi Sabi. Intimate with a classic, vintage aesthetic (think thatched roofs and original antiques), the vibe is elegant yet eclectic. The service style is old school, though not too formal, and very personable. Nothing feels too much to ask.

The safari experience generally follows the same routine: at 5.30am the ranger comes knocking on your door for the morning drive, which might sound horrifying but this is the best time to spot the animals before they all slink away into the shade. To soften the blow, there are blankets and hot water bottles in the trucks, and after an hour or two of driving, there’s often a pitstop for breakfast in the bush.

Read more: We speak to designer Mandkhai Jargalsaikhan about Mongolian cashmere

After that, the rest of the day is left open for snoozing, sunbathing, book reading, drawing or whatever else takes your fancy. The evening safari starts at 4pm, returning in time for dinner.

An outdoor bathtub beside one of the luxury suites

Getting horizontal

We loved the earthy colour palette, natural textures and the grandeur of the four poster bed draped with a curtain.

There are no fences around the lodges and our shower and bath were alfresco, which all added to the feeling of being at one with nature.

Flipside

The Sabi Sabi Private Game Reserve is perfect to get to by private plane from Nelspruit (less than 15 minutes in the air), but if you arrive after dark they won’t let you land on the Sabi Sabi airstrip because it’s too hard to keep the animals off the run way.

Rates: From £650 (approx. €750 /$850 ) per person per night, all inclusive.

To book your stay visit: sabisabi.com/lodges/selaticamp

Kitty Harris