Hide sits in prime position on Piccadilly, overlooking Green Park

Michelin-starred chef Ollie Dabbous’ latest restaurant Hide is one of the hottest openings in London this year. A joint venture between the chef and Hedonism wines, Hide offers a dining experience for all the senses, says Digital Editor Millie Walton

Hide may seem like an ironic name for Ollie Dabbous’ new restaurant that sits on the north side of Piccadilly with almost entirely glass walls, but think of the name more in relation to a hunter’s hide, i.e. a camouflaged shelter used to observe wildlife and then, it doesn’t seem quite so ironic. The restaurant’s theme is nature; Hide Above is accessed by a spectacular wooden spiral staircase that takes the appearance of an ancient tree trunk, leading up to a floor of sparsely positioned tables that overlook Green Park.

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The partially open kitchen at Hide Above

We are led to a table in the far corner, right up against the glass. This could easily have been a moment for panic for both myself and my guest as we’re both wary of the exhibitionism of dining out, but surprisingly, we both find it a very relaxing place to be. It’s far enough from the neighbouring table so that we don’t feel that we’re being spied on and the elevation makes it feel removed and private.

Read more: Painter John Virtue’s monochromatic world at Fortnum & Mason

This has a lot to do with the restaurant’s atmosphere, which unlike a lot of restaurants in this part of London, is friendly, informal and welcoming. Our waiter – French, dressed in a beautiful cream linen apron to match the natural colour scheme (apparently designed by Dabbous’ mother) – is natural, funny and puts us instantly at ease. After gently placing my handbag on its own special stool – a touch which always makes me giggle – he hands us both a cream embossed box, which as, he has to explain, contains the menu. The Hedonism wine list comes on an iPad – it would take several people to carry a printed version to the table.

Inside the Hedonism wine cellar at Hide

Hide is a partnership by Ollie Dabbous and Yevgeny Chichvarkin (the owner of Hedonism) and together they have managed to create a multi-layered (quite literally) experimental fine dining experience. Each level of the restaurant has its own unique mood. Hide Ground is the sultry, cool hang-out, where you can order à la carte breakfast, lunch, afternoon tea and dinner – at night, when we arrive at the restaurant, its packed full of trendy fashionista types. Whilst Hide Below, the bar, is cosy and intimate with several private dining rooms tucked into cave like alcoves, and the Hedonism cellar. Our sommelier kindly gives us the grand tour, explaining that if there’s anything a guest wants and the restaurant doesn’t have it, they’ll order it in straight away from Hedonism round the corner. You have to admit, its a slick operation.

Hide Above is tasting menu only with the option of eight courses, or ten if you choose the Cornish fish courses. And it really is an incredibly beautifully space, with light wood tables, soft cream furnishings, textured walls and hanging lights which look like a broken egg shell with a gold leaf interior.

Read more: Dara Huang, Founder of Design Haus Liberty on the importance of balanced design 

To begin: a bowl of broth, raw vegetables accompanied by a tangy dip and bread basket. The dining experience is designed to be sensory and interactive in a use-your-fingers, mix-it-all-together kind of way, and aside from being completely delicious, it’s a lot of fun. This is followed by the most flavoursome avocado we’ve ever tasted, served with a light basil sauce and gooseberries, and the first of our wines: Samuel Billaud “Les Grands Terroirs” Chablis 2016. Dabbous is a master at pairing delicate flavours, and in a tasting menu – where it’s so easy to overdo it – you appreciate that skill even more. Then – one of our favourites – delightfully cold, cured wild salmon with crème cru (we have to restrain ourselves from lapping up the remains of the sauce) & Exmoor caviar, paired perfectly with LUNAE Colli di Luni Vermentino.

Dabbous’ famous dish: the nest egg ( an open-topped egg containing a scrambled, mushroom sauce, nestled into a bed of smokey hay) comes served in a black clay pot. The waiter lifts off the lid dramatically, to release the scent of wood-fires, setting us both reminiscing about winter, family evenings and all things cosy. Both Cornish fish courses are delicious (especially the sashimi) and the steamed turbot with nasturtium broth is one of all time favourite dishes for the surprising and delicate flavours.

Tasting menu highlight: steamed turbot with nasturtium broth

Full, but not unpleasantly so, we welcome the (bright green) Garden Ripple ice cream which arrives on a large ice block containing frozen flowers. My dining partner asks, with wonder, whether they have a whole fridge full of these beautiful ice blocks and we’re shown to the kitchen to meet Dabbous himself, who opens a drawer containing said blocks whilst we both gush about the meal, and the wine, and the interiors until we’ve suitably embarrassed ourselves and everyone around us. We finish the meal with an elegant stick of liquorice decorated with golden marshmallow and a gold chocolate leaf.

Hide is well on its way to starry success (ehem, Michelin). Make sure to get in while you can, the waiting list is growing by the minute.

To book a table and view the menus visit: hide.co.uk

Photography by James Houston

The Four Seasons Hong Kong towers over the exclusive IFC mall complex in Central, the heart of Hong Kong, and has spectacular views over the water to the Kowloon side of the city

Why should I go now?

Summer is hot and steamy in Hong Kong and traditionally a stopover in this most exciting of Asian cities at this time of year involves spells of freezing inside air-conditioned rooms and baking while strolling the streets of Central in search of dim sum, art, or cocktails. Stroll out to the pool terrace of the Four Seasons, though, and you are greeted by a very refreshing alternative: two huge outdoor pools with an extensive terrace, made of beautifully carved marble, with views across the sea to the mountains of the New Territories. Ferries, speedboats and bigger ships waft through the harbour beneath you, and you are at once in the very heart of Hong Kong, and in a resort hotel on an island in the South China Sea.

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What’s the lowdown?

For further relaxation, turn left just indoors from the pool area and you are in the vast spa zone, where you get your own butler to tend to your every need and show you around (it’s easy to get lost between wet rooms and plunge pools and treatment suites and relaxation rooms). A tip: take your treatment in the evening, when the whole city seems to surround you with a light show reflecting off the waters of the Harbour. We do this just before setting off for the airport for our overnight flight back to London, and it’s the most spectacular way to get a treatment in any city we have seen.

The infinity-edge pool is equipped with underwater speakers

We also recommend getting a room with access to the Club Lounge on the 45th floor; this takes the concept of such a lounge to another level, with endless dim sum, afternoon tea, Ruinart Blanc de Blancs champagne on tap and a mesmerising view. You’ll have no reason to visit the hotel’s Blue Bar on the ground floor, which would be a shame as it is surprisingly funky – no old-style Four Seasons wood and leather here – although the view is at ground level.

The hotel’s two Michelin star French restaurant, Caprice

The Four Seasons is located at one end of the prestigious IFC mall and tower complex, meaning it also hosts two of the city’s (and by extension, greater China’s) most significant power venues for lunch and dinner, Lung King Heen and Caprice. We loved dining in the private room (with private chef) at Sushi Saito with some of the butteriest nigiri outside Tsukiji Fish Market.

Getting horizontal

Our bedroom looked out over the Harbour and Kowloon; at night you could stay up for hours looking at the lights, and this was a distraction as the capacious desk was located right by the window. The things we suffer in the name of research. Everything else was Four Seasons-correct, from the vast, bright, marble-clad bathroom to the huge bed and array of amenities.

Read more: Former Cognac warehouse becomes luxury hotel, Hôtel Chais Monnet

The luxurious bedroom in the presidential suite

Flipside

If there’s a summer storm, the rush for drivers and taxis outside the hotel and IFC complex in general can mean it’s a little congested outside; but you can, in fact, walk almost anywhere within Central Hong Kong from the hotel by strolling through a series of interconnected (and indoor) luxury malls.

Rates: From 4,092 HKD (approx. £400 / €450 / $500)

To book your stay visit: fourseasons.com/hongkong

Darius Sanai

Render of a project for a confidential client in China by Design Haus Liberty

London-based architecture and interior design practise Design Haus Liberty might be a relatively new name in the industry, but it has already developed a reputation for creating unique atmospheres in residential and commercial properties across the globe. LUX Editor Kitty Harris speaks to founder Dara Huang about her fascination with pottery, sustainable design and the importance of place

Dara Huang

1. What’s inspiring you at the moment?

I have been really inspired by pottery lately, it sounds strange, but I find the medium of clay, porcelain and the art behind how it’s made and formulated incredibly interesting. The different ways you can finish, heat or perform pottery in multiple ways is inspiring. I am mostly inspired by the volumetric forms and natural colours it comes in. There is a really nice LOEWE show at the Design Museum that really highlights some gorgeous pieces.

2. How important is sustainability to your design approach?

I think sustainability is such an important issue to think about when you are designing something. It is not always as superficial as where the materials are made out of, or the ratings of the installation. At Design Haus Liberty, we think about the direction the wind blows, the pattern the sun sets and how that effects the way the architecture passively sits in its environment. This is to ensure that the occupiers are as comfortable as possible.

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3. What are some of the challenges you face when refurbishing existing properties/developments?

Definitely everything you can’t see. Opening up a building to refurbish it is a can of worms as you never know what is going on inside. You will find rotting structure, asbestos and leaks. It is usually the most difficult to refurbish grade listed buildings. We have had to replace old timber inside floors which needed reinforcements on either side.

Design Haus Liberty and House of Sui Sui project: Hampstead Manor in London for residential interior refurbishment, for client Mount Anvil – completed 2017

4. What makes good design?

Balance. I don’t really practice Feng Shui but I do think that it doesn’t feel right when the design is off balance. I use my intuition for that rather than a calculated metric. Once the design feels balanced, the way you live in the space will too. Some of these principles do coincidentally correlate with Feng Shui but I think it’s common sense. It can be in colour, objects, the direction doors open or where they face, placement of furniture or art etc.

Read more: andBeyond CEO Joss Kent on creating luxury in the wilderness

5. Do you believe that contemporary architecture should reference the past?

I believe all good architecture should reference the context whether it’s a nod to the history, the urban planning, or the cultural references. Architecture should tie in with the place and not be 100% foreign. With that said, it is not that it needs to look like its surroundings, but it should have a concept derived from the place.

Design Haus Liberty Mercury installation in the penthouses at South Bank Tower, for client CIT – completed 2015

6. What’s your favourite building in London and why?

Good question! It would have to be something historical. I don’t particularly have one building in mind but I do love St Paul’s Cathedral. I love spaces more than buildings such as Carlos Place, Mayfair and Regent Street, for the grandeur of buildings enveloping you. It is quite breathtaking. The more contemporary work in London has been a disappointment compared to its past.

For more information and to view Design Haus Liberty’s full portfolio visit: dhliberty.com

John Virtue Landscape No.174 (1990 – 1992) acrylic emulsion charcoal gouache pencil black ink shellac on board. 181 x 298cm Courtesy of Albion Barn

This September, Fortnum & Mason in collaboration with art collector Frank Cohen will present an in-store exhibition of British landscape artist John Virtue. LUX Digital Editor Millie Walton explains why she’s already looking forward to it

John Virtue is no ordinary landscape painter. And I say that for all of those who are reading this and thinking landscape painter means traditional means boring. I am normally one of those people.

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John Virtue Untitled No.1 (2012-17) acrylic on canvas 183 x 183cm Courtesy of Albion Barn

For starters, Virtue’s paintings are monochromatic (i.e. no sunshine, flowers, cows, quaint farm buildings or windmills). They’re moody, turbulent, textured. His depictions of London are heavy, drizzling scenes of a kind of shadow city, bereft of all the usual iconic shapes. I’d go as far to say, it’s more of a mood than a landscape, and it’s one that any viewer – with or without knowledge of art history, or in fact, of London – can feel. A visual poetry.

Read more: India’s most significant modernist painter S.H.Raza at Piramal Museum of Art, Mumbai

Trained at Slade School of Fine Art, Virtue now resides in North Norfolk where he gleans inspiration from the harsh, flat, stretching expanses, whipped by wind and rain. Mixing swathes of white acrylic paint with black ink and shellac, his paintings are charged with the energy of the weather, dripping with the un-predictability and almost frightening power.

John Virtue Landscape No.43 (1986-87) black ink shellac gouache on paper laid on board 147 x 220 cm Courtesy of Albion Barn

The juxtaposition of these huge, dark canvases set amongst Fortnum & Mason’s gleaming colours and grandeur will be an intriguing one.

Fortnum’s X Frank 2018 is curated by Robert Upstone and runs from 10th September to 20th October at Fortnum & Mason, Piccadilly. For more information on the exhibition visit: fortnumandmason.com/events/fortnums-x-frank-2018

Dramatic architecture by Paris-based architect Didier Poignant has created a spectacular contemporary hotel out of a cognac ageing warehouse

A former warehouse in the heart of the town of Cognac is set to reopen this year as a luxury hotel. Emma Love gets an exclusive preview of the dramatic Hôtel Chais Monnet

It’s no secret that cognac has become cool. Where once the French brandy – determined as such by being made specifically in the Cognac region in southwest France – had a fusty reputation as an old man’s after-dinner tipple of choice, now the 390 cognac houses producing the stuff seemingly can’t make enough of it (the Hennessy label, owned by LVMH, recently opened a new bottling plant to keep up with demand and increase annual production). The fact that it’s a huge hit in China where it’s seen as a status symbol of wealth, and in the US, where it’s synonymous with rap music, are undoubtedly part of the reason why five bottles of the amber-hued spirit are sold every second somewhere in the world. And just as cognac the spirit has gone through a cultural shift, now the historic town where it’s produced is finding itself in the global spotlight, too.

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Last year Tony Conigliaro, a mixologist and major influence on London’s cocktail scene (he is behind the legendary bar 69 Colebrooke Row) opened Luciole, a bar with a cognac-based cocktail menu and this summer, the game-changing Hôtel Chais Monnet will open its doors in a former cognac warehouse, set in two hectares of land in the centre of town. Backed by British investor Javad Marandi, who is also the owner of the Soho Farmhouse in Oxfordshire, the hotel will house 92 rooms and suites, plus 13 apartments. “Here in the town we’ve been waiting for this for a long time,” said mayor Michel Gourinchas. “We’ve asked ourselves a number of times what we could do with this site and thanks to this hotel we’ll be able to see a reality of what’s possible in a way that’s in the best interests of our town, its inhabitants, and tourists.”

The public areas of the newly designed Hôtel Chais Monnet, such as the spa (top image) and the hallways, combine cool contemporary design with some original features of the former Monnet warehouse

The site itself has a unique history. The original 19th-century property was once owned by cognac trader Antoine de Salignac who, in 1838, founded the Society of Cognac Vine-growers, a community of several hundred small-vine growers who wanted to pool their strength to have sufficient stock to sell at the same time. Towards the end of that century, the shareholders asked Jean-Gabriel Monnet to manage the society and as part of the role, he and his family moved into the stately mansion and warehouse, naming it Chais JG Monnet. His son, also named Jean Monnet, left school aged 16 to follow in his father’s footsteps, travelling to Germany and America to sell cognac. He went on to become a political economist and diplomat, and an influential proponent of European unity (he is considered one of the founding fathers of the European Union). Later, the site was bought by the LVMH group, and then sold back to the town of Cognac in 2006.

The next chapter in the property’s life looks very different – quite literally. Today, Hôtel Chais Monnet comprises seven original and three new buildings, all designed or remodelled by Didier Poignant of Ertim Architects in Paris. Looking at the hotel, what’s perhaps most striking is the way that the old and modern have been fused together, and how cognac references are subtly employed throughout. “I have never worked on, or seen a hotel like this in France,” says Poignant. “Transforming a historic cognac warehouse with such a large site in a town is very rare. For this reason, it is such a special project.”

Read more: Street artist Alec Monopoly on the purpose of art and wearing a disguise

At the heart of the property are a pair of new Les Ceps glass buildings surrounded by a twisting metallic structure inspired by grape vines. These house some of the rooms (the rest are in an original building, where the cognac was once aged) on the upper levels; on the ground floor of one there is a spa and wellness centre with seven treatment rooms, an indoor/ outdoor swimming pool, a hammam, jacuzzi and gym. The third new building is a series of apartments, which can be rented from three nights to a couple of weeks. The former old barrel-repair warehouse has been turned into a jazz bar with vaulted ceilings, Chesterfield sofas and a piano in one corner. As you’d expect, it will be stocked with a large selection of cognacs, from bottles by the small, lesser known houses to the famous Louis XIII from Rémy Martin.

Render of one of the bedrooms

There are two restaurants within the old ‘Chai Cathedral’: a relaxed French brasserie and a more formal fine-dining offering which has old barrels, once used for cognac ageing, at the entrance. The chef chosen to head up the kitchen of the latter is Sébastian Broda, best known for his light, Mediterranean cooking at Michelin-starred Le Park 45 within Le Grand Hotel Cannes. “What matters,” explains hotel director, Arnaud Bamvens, “is that Sébastien Broda is a name of tomorrow. In his kitchen, which upholds a gastronomy of excellence, we can find his humility, his passion for cooking, and his interest in local produce. We want a cuisine of land and sea, rather than one or the other.” The hotel also has a private cinema, cigar lounge, kid’s club, a rooftop garden bar for summer sundowners, and a series of rooms dedicated to re-telling the story of Chais Monnet so far. The multipurpose ballroom (for up to 220 people) and four seminar rooms are suitable for meetings and events.

Render of the glass-encased entrance linking the two original warehouses

Of course, one of the biggest reasons for staying here will be the draw of visiting some of the many cognac houses that are on the doorstep, but the hotel is equally keen to promote the region’s many other attractions. The cobbled streets, the perfectly manicured gardens and traditional architecture, and the Charente river that runs through it, all point to a slower paced, more charmed life.

Read more: andBeyond CEO Joss Kent on creating luxury in the wilderness

“Cognac has a small bar scene but it has a lot of potential,” says Conigliaro, who decided to open a bar in the town with Guillaume Le Dorner, the former bar manager of 69 Colebrook Row, when he returned home to France. It was a smart move, and one that might encourage more drinking of cognac in the town itself (according to figures released in 2016, 97 per cent of cognac is exported, bringing the country 3 billion euros in annual revenue). With the cultural redevelopment of the nearby city of Bordeaux, it means a whole new part of France is opening up to the luxury traveller.

The hotel’s swimming pool and (below) one of the 21 suites that will be available

Four must-visit cognac houses

Meukow

Meukow was founded in 1862 by two brothers, August and Karl Meukow. They first visited Cognac on behalf of the Tsar of Russia, who hired them to buy French brandy supplies for the imperial court at St Petersburg. Look out for Meukow Extra, made from a blend of the very oldest eaux-de-vies in the Paradis Cellar. meukowcognac.com

Domaines Francis Abécassis

Domaines Francis Abécassis is a young cognac house with 220 hectares of vines. It is owned and run by Francis Abécassis and his daughter Elodie, who take a contemporary approach to producing classic cognac, such as in ABK6, blended from a selection of old eaux-de-vies.  abecassis-cognac.com

Camus

One of the largest independent, family-owned cognac houses, as well as one of the largest landowners in the sought-after Borderies cru. Headed up by fifth generation owner Cyril Camus, the house recently launched a new addition to its Borderies range, Camus XO Borderies Family Reserve. camus.fr

Otard

Established by Baron Jean-Baptiste Otard in 1795, this house is known for its medieval residence and its distinctive teardrop shaped bottles. The one to buy is Fortis et Fidelis, created in homage to the house’s founder and featuring the Otard coat of arms motif on the bottle. baronotard.com

For more information and updates on Hôtel Chais Monnet visit: chaismonnethotel.com 

The artist in his signature (dis)guise in Hong Kong

Street artist Alec Monopoly’s distinctive creations are a blend of subversive graffiti culture and post-pop colour. And he has now been tasked with rejuvenating the culture at watch brand TAG Heuer. Nathalie Breitschwerdt catches up with the elusive – and anonymous – LA-based graffiti genius.

The manufacture of luxury watch brand TAG Heuer consists of a series of modern buildings on the edge of La Chaux-de-Fonds, in western Switzerland. The town is built on a US-style grid system, seemingly at odds with the rolling forested hills of the Jura that surround it.

Inside, it’s as you would expect a high-end watch factory to be. A sanitized workshop floor contains rows of technicians piecing together different watch components; other rooms contain test laboratories and machines for finishing the timepieces.

Walk from the workshop through some connecting corridors to the corporate offices, however, and you are greeted with an extraordinary sight. It is a glass-walled room with paints, canvases and strikingly colourful artworks, finished and in progress.

There was no artist at work on the day we visited – he was back in his home city of New York – but Alec Monopoly is no ordinary artist in-residence. Not long ago, his art was illegal. A graffiti artist, his trade involved tagging (painting) buildings – other people’s buildings – with his distinctive design. Monopoly developed a cult following on Instagram, and was then discovered by pioneering, maverick watch CEO Jean-Claude Biver. A key player in the revival of the luxury watch industry and now head of the LVMH watch division (which includes TAG Heuer), Biver made Monopoly a brand ambassador, launching the partnership at Art Basel Miami. Explaining why the artist would be given his own studio up in the Swiss mountains, Biver explained that Monopoly would play a key role in updating the brand for the new generation. “The most important thing is that Alec will be our art provocateur,” Biver said. “He will bring his influence inside the company. He will infuse the culture of TAG Heuer. That is the real job.”

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Monopoly’s real identity is still a secret: he hides his face behind a red bandana. But his post-Roy Lichtenstein takes on pop culture characters (and specifically the banker from the Monopoly board game) give him a universal and instantly recognisable appeal – as does his nuanced take on the world’s economic system.

Monopoly’s artworks are now appearing in TAG Heuer stores around the world, and he is more likely to be courted than taken to court by the property world now.

Alec Monopoly’s depiction of TAG Heuer ’s CEO Jean-Claude Biver at Art Basel Miami

LUX: When did you start making street art?
Alec Monopoly: I have been painting on the streets of New York since I was 12 years old. Growing up in the city, I loved skateboarding and the graffiti culture in the city. In 2008, I moved to Los Angeles and that’s when I started integrating my artwork into street art. I was a graffiti artist before and that’s when I became a street artist.

LUX: How has the perception of street art changed since you first started?
Alec Monopoly: It’s changed big time. It’s become more accepted into pop culture recently, whereas before it was much more frowned upon. In the early days especially, graffiti was looked on as pollution and destruction, but now it’s transforming the grey walls of cities into things of beauty. If you look at the Miami Design District and Wynwood, it’s changed a dangerous neighbourhood with abandoned buildings and actually turned it into something beautiful. Take a look at the Wynwood Walls where some of the best artists in the world come to paint; it’s a great example of how street art has been accepted into society.

Read more: Megan Balch & Jaime Barker, Founders of Flagpole on their inspirations and creative process

LUX: Tell us about your fascination with the Monopoly Man.
Alec Monopoly: I started painting the Monopoly Man in 2008 when the economy started to dip. I was playing the game Monopoly, which I love, and was watching the news where I saw Bernie Madoff being arrested. I remember thinking how ironic that situation was, as he sort of looked like the Monopoly Man. There was so much meaning to it. People really connect with the Monopoly Man, so that’s when I started painting him for fun in the street. Originally it was for fun, but it also became more real due to the situation. That’s when I started spreading more intricate characters into my paintings, like Robert De Niro, Twiggy and Jack Nicholson.

An Alec Monopoly creation in Miami’s Design District

LUX: Why do you think your artwork is in such high demand?
Alec Monopoly: People can really connect with my work. I create a lot of work that has a positive message; it’s fun and brings happiness to people. A lot of people have found that my work is inspirational. Having the Monopoly Man with bags of money and seeing him run with them, it’s kind of like a good luck charm, which you see in the offices of CEOs. Now, I draw a lot of inspiration from life: travelling, meeting new people, experiencing new things. I truly live through my artwork and express who I am as a character, as a person, through my paintings. I think it’s important for an artist to express themselves through their work in a way where people can see life through their eyes – my eyes.

LUX: Are there certain places in the world that are “street art hubs”?
Alec Monopoly: I would say there are different cities where street art is more popular. Berlin would be one of the top cities for emerging street artists and for street art in general because it’s more accepted into the culture there. I would say LA is great due to the massive walls throughout the city and then, of course, Miami Wynwood is the Mecca of street art, for now.

Alec Monopoly tags for TAG at a pop-up store in California

LUX: You’re a brand ambassador for TAG Heuer. How did that come about?
Alec Monopoly: It came about through an organic relationship with Mr Biver. We met in the south of France in my studio and created a relationship. I was really taken aback by him – he’s a genius. He’s like the Steve Jobs of the watch industry. Hearing him talk and his passion, we really connected as I have a great passion for watches myself. My dream has always been to create a watch with my artwork in the dial. We really saw eye to eye with the collaboration and it’s been an amazing journey for both of us. All the watches sold out immediately!

LUX: Is it strange for a street artist to be associated with a luxury brand or do you see it as a step in the right direction?
Alec Monopoly: I definitely think it’s a step in a positive direction. I’m very picky who I do brand collaborations with, but I think TAG is the perfect fit. It’s the perfect vehicle to pursue one of my dreams, which was to put my art inside a watch. I was very happy to do it.

Read more: Luxury in the treetops at Chewton Glen

LUX: Anonymity and graffiti seem to go hand-in-hand for street artists such as Banksy and yourself. Why is that important to you?
Alec Monopoly: For me, it represents the freedom to keep painting in the streets where I would like to paint. I paint in some places where it’s kind of a grey area with regards to the law, so it’s important to remain anonymous. It’s kind of fun too; I can take my hat, my mask and my jewellery off and no one really knows who I am – it’s kind of nice to have that double life. It’s very interesting that when I cover my face people recognise me and when I don’t, people have no idea who I am. It’s the weirdest thing!

LUX: How do you define art and its purpose?
Alec Monopoly: I see art as very important for culture. It’s a way of seeing what’s going on in that part of history and what’s going on in the world. For me, it’s a form of therapy and expression, but it also brings happiness to other people’s lives. When I’m painting one of these graffiti walls, I’m transforming that neighbourhood through bright colours. People driving by, kids growing up there – I try to bring them as much happiness as possible. I’ve met kids who started painting their own versions of the wall and creating their own art, which is really inspirational to me.

LUX: What do you do when not making art?
Alec Monopoly: Honestly, I’m always creating art. Yesterday I was at the beach and started making these drawings in the sand – I can’t even relax when I’m at the beach! I love art, it’s who I am.

View Alec Monopoly’s portfolio of work at alecmonopoly.com and Tag Heuer’s collections at tagheuer.com

Flagpole Summer 18 Collection

New York based swimwear label, Flagpole is a Cali-surfer girl’s dream. Clean lines, block colours and bikinis that won’t fall off every time you dive into the sea. LUX asks co-founders Megan Balch and Jamie Barker how they do it.

Jaime Barker and Megan Balch

1. Describe the Flagpole woman.

The Flagpole woman loves to travel, always active in her pursuit for exploration. She is sophisticated, practical and embraces a sporty edge to her style. She appreciates quality in all aspects of her life.

2. How does the collaborative design process work?

We have the same taste but very different strengths in our designing. We like to choose the colour palette together and with that, the collection really starts to come together. It’s the blend of Megan’s focus on functionality and Jaime’s artistic vision that gives Flagpoleits signature design.

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3. What’s inspiring you at the moment?

It’s almost always architecture. We just returned from a trip to Chicago bursting with ideas and appreciation from their skyline.

The Lori top with Frida skirt from the Flagpole Summer 18 Collection

4. What comes first, functionality or style?

Honestly, it’s a combination. They are not mutually exclusive. Without artistic vision, Flagpole would not have its voice. Without functionality, it would not have its progress. We must have both to embrace and succeed in our story. So when we approach a new concept, both are simultaneously in conversation.

Read more: The ultimate mid-week escape at The Royal Crescent hotel, Bath

5. Your collections always have a distinct colour palette. How do you decide on the shades?

Colour is something we both find very emotional. We spend a lot of time working to find the perfect colour combinations that speak to what we want to feel in our collection. The painstaking process of balancing warm and cool tones is honestly one of the most exciting and aggravating stages. But we will work until we both feel that every shade is perfect.

The Gia one-piece from the Flagpole Summer 18 Collection

6. What’s next for the brand?

There are so many things in the works we can’t wait to share with the world. One we can say, and are excited to announce, is that this summer we’ll be launching our Men’s line!

View the collections and buy online at flagpolenyc.com

S.H. Raza, Sienne Port, Oil on canvas; 1960. Image courtesy: Piramal Museum of Art

The first major exhibition of Sayed Haider Raza since his death in 2016, S.H. Raza: Traversing Terrains explores five decades of the painter’s work from the early 1940s to the late 1990s, tracing his development and influence as both artist and philosopher.

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S.H Raza; Eglise et Calvaire Breton; Oil on Canvas; 1956. Image courtesy: Piramal Museum of Art

‘The most tenacious memory of my childhood is the fear and fascination of Indian forests,’ Raza said in an interview 2001. ‘We lived near the source of the Narmada river in the centre of the dense forests of Madhya Pradesh. Nights in the forests were hallucinating; sometimes the only humanising influence was the dancing of the Gond tribes…’

Read more: Why you should check into Chewton Glen this month

As such, the scenes Raza often depicts are full of life, movement, memory, Indian iconography, nature, philosophy, music and poetry. They’re otherworldly, sometimes strange and chaotic, sometimes precise and ordered, fusing together the landscapes of France (where he lived after being awarded painting scholarship at the École Nationale Supérieure des Beaux-Arts in Paris) with the feverish colours and unique aesthetics of India.

S.H. Raza; Benares; 1944; Watercolour on paper. Image courtesy: Piramal Museum of Art

In 1947 ( the same year that India gained independence), Raza co-founded the Bombay Progressive Artists’ Group, advocating an avant-garde style (Fauvist colours, Cubist forms, Expressionist brushwork) with Indian subject matters and themes.

This expansive retrospective provides an intriguing and important insight not only into the artist’s career and life, but also into the progression of Mumbai’s art scene.

‘S.H. Raza: Traversing Terrains’  runs until 28 October 2018 at the Piramal Museum of Art, Mumbai.  For more information on the exhibition visit piramalmuseum.com/exhibitions/current/sh-raza-traversing-terrains

Chewton Glen is at its most beautiful in the summer

Why should I go now?

English summers: you can’t beat them. Especially when you’re staying in a luxury treehouse, overhanging a lush, sun-bathed valley. Right now, the grounds are at their most verdant, buzzing with bees and butterflies, but unlike the manicured lawns of the main hotel, which are pretty in an orderly kind of way, the treehouses are hidden deep within the wild woods. This is the land of barking deers, swooping owls, fairytales.

Chewton Glen’s 14 luxury treehouses are hidden away from the main house, amongst the trees

What’s the lowdown?

The main house dates back to the early eighteenth century and much has been done to preserve an air of old-school elegance; think mahogany antiques, classic paintings, a grand piano, plush carpets, conservatories, and croquet lawns.

The Dining Room restaurant Summer House seating area

The Dining Room restaurant is smart without being fussy both in terms of the interiors and the menu. Dishes are seasonal, fresh and delicately flavoured making the most of local produce. There are – rather intimidatingly – over 1900 wines to choose from, but fortunately, the sommelier is well used to guests’ bewilderment and gently guides us through the menu. For a more relaxed atmosphere, The Kitchen (a short buggy ride away) serves wood fired pizzas, salads and burgers; this is also where guests can take cookery lessons.

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The Spa is an extravagant expanse encompassing an ozone-treated indoor pool surrounded by Grecian columns, hydrotherapy pools, aromatherapy saunas, crystal steam rooms, an outdoor terrace lined with sun-beds and its own restaurant where spa-goers munch salads in robes and slippers – even the changing rooms are impressive with piles of fluffy white towels, REN toiletries and their own hot tubs. The 60minute facial using Natura Bissé products is deeply relaxing, leaving my skin as soft and bright as if it were new, which, after multiple rounds of exfoliation, masks, and massaging, it practically is. My partner emerges in a dream-like state from a full-body massage, claiming that he’s “never felt so calm!” A statement, which does well to sum up the hotel’s general seduction.

The outdoor swimming pool sits within Chewton Glen’s pretty gardens

When the weather’s hot it would be a shame not to make the most of the hotel’s 130-acre grounds. There’s an extremely pretty outdoor swimming pool, a golf course, tennis courts, archery, falconry and plenty of walking routes, some of which meander along the coastline.

Getting Horizontal

We’re in a treehouse loft suite – a short walk or buggy ride away from the main house with its own check-in and carpark. The style is contemporary, but homely with a kitchen area (well stocked with free snacks, soft drinks and on arrival, a half bottle of Taittinger champagne), a wood-burner, sofa, and large windows all along the front which open out onto the balcony and fill the space with natural light.

The kitchen/dining area of the newest and largest treehouse: The Yews

Read more: British Polo Day’s Tom Hudson on polo’s international appeal

Upstairs, there’s a twin loft for kids whilst the master bedroom on the ground floor connects to a spacious bathroom complete with shower and bathtub. The balcony overhangs a wild valley with outdoor furnishing and a hot tub which really comes into its own when the sunsets. It has the same kind of romance as a luxury safari camp in Africa – without the wild animals.

Flipside

The treehouses are designed as secluded retreats, and in the summer when the branches of the trees are lush with leaves you really do feel like you’re in the middle of nowhere (at most, you might catch a glimpse of a rosy face through the steam of a hot tub on a neighbouring balcony), but it may be a different story come autumn. That said, we rather like the idea of snuggling up in front of the fire with a mug of homemade hot chocolate…

Rates: From £850 for a Treehouse Studio Suite (approx. €950 / $1,100)

To book your stay visit: chewtonglen.com

Millie Walton

British Polo Day 2017 at Black Bear Polo Club, Henley-on-Thames

British Polo Day’s unique approach to an international, invitation only, global polo platform has cemented the brand as one of the most sought after events on the social calendar. Partnering with the likes of Bentley, VistaJet and Chelsea Barracks, the events see some of the world’s most interesting individuals gather to celebrate polo in dreamy locations around the world. LUX Editor Kitty Harris speaks with Co-Founder and Director Tom Hudson about the inception of the idea and the history of horsemanship

Tom Hudson (right) with BPD’s CEO Ben Vestey

LUX: How did the inception of British Polo Day come about?
Tom Hudson: In 2008 I moved to Dubai along with a whole wave of friends from school, university and the Army, who all seemed to be moving out at the same time. I began playing polo at a brand-new club that had been built in the desert and became friends with the Habtoor family who were the local polo patrons. At the time not, many people watched the sport. I grew up in Windsor, next to Guards Polo Club which often draws thousands of people to watch, and pitched the idea for hosting an exhibition, where we would bring out the best British players to ride against the best Gulf players. Our first event was in February 2009 and we expected about 200 people. More than a thousand turned up, and British Polo Day was born. Since then, we have held 65 British Polo Days in more than 15 countries across all 5 continents and have raised more than $2m for good causes in the process.

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LUX: Why was it important for British markets to have access to Dubai?
Tom Hudson: I think in a post-Brexit world, Britain needs to look to its friends further afield and Dubai is a natural gateway to the East with many British Expats living there. It has a familiarity about it, especially with the financial freezone having a legal system based on English law. Above all, the Emiratis are incredibly hospitable and like things that are quintessentially British.

British Polo Day – Dubai 2018 from British Polo Day on Vimeo.

LUX: What is it about polo that captures its audiences and players?
Tom Hudson: Polo is the world’s oldest sport, and there is a famous saying said to have originated in ancient Persia that “the game of kings will always be the king of games”. I think the history and heritage resonates everywhere it is played, whether that is India with the Maharajas or China, harking back to the Tang dynasty. As the only mode of transport for more than 2000 years, horsemanship is celebrated in almost every culture, and polo allows one to demonstrate strength, speed and stamina. The Ralph Lauren adverts have not done the game any harm either!

Luxury hospitality at last year’s British Polo Day event at Henley-on-Thames

LUX: British Polo Day has been described as an international members club, with the intention of building lasting relationships. How does this work as a business model?
Tom Hudson: British Polo Day was founded with the aim of bringing people together and forging friendships with our hosts in their home countries. By working with mutually complimentary but non-competing companies, partners can club together and co-invest in the platform that would otherwise cost them much more to do themselves. There is also the network effect around their clients. If one partner invites 10 clients, but 10 partners each invite 10 clients, then there are 100 potential clients for them all to meet and introduce to each other.

Read more: Geoffrey Kent on how to pack for an adventure

LUX: How do you go about selecting the right partners for the brand?
Tom Hudson: We are meticulous in only bringing in companies and, more importantly, people who are a good fit and who buy into our long-term vision. We have 2000 years of combined heritage across our partner base and we check with our existing partners before bringing a new company in.

LUX: What are some of the challenges you face organising international British Polo Day events?
Tom Hudson: People often talk about the founding or inception of an idea as if it is the hard part, however I think it’s turning the vision into a reality that is the biggest challenge, and riding out the bumps on the way. It was one thing to throw one event in Dubai in 2009, but quite another to deliver the events globally to the same standard for 10 years straight. For that I have to thank the British Polo Day team and my great friend and partner Ben Vestey. Ben played in the first ever British Polo Day in India and immediately saw the potential, leaving his job soon after and investing in the growth of British Polo Day.

Tom Hudson with Sir Richard Branson at a British Polo Day event

LUX: Much of your advertising is by word of mouth from your guests. Supporters include key figures in government, aristocracy, diplomats and arty types too. How would you describe the ultimate British Polo Day guest?
Tom Hudson: We look for those who are not only interesting, but also interested in others. From entrepreneurs like Sir Richard Branson and Elon Musk, to Arab Sheikhs, American influencers with millions of followers, through to Indian industrialists and Chinese couture designers, we’ve hosted them all. We pride ourselves in the magic and eclectic mix and are always striving to introduce people who we think will get along and find that chemistry. We’ve even had our first wedding and baby from a couple who met at a British Polo Day!

Read more: 6 reasons to buy a Richard Mille McLaren watch

LUX: British Polo Day now travels to 8 destinations a year, what does the future hold?
Tom Hudson: We used to think that the more events and countries the merrier, with many polo clubs inviting us to host British Polo Days, but recently we have decided to stick to our core countries and concentrate on quality over quantity. Ben and I both have young families, and we would love our children to witness some of the amazing experiences that we have been lucky enough to enjoy through British Polo Day.

LUX: Where do you go to escape?
Tom Hudson: I’m fortunate that Jess, my wife, works with some of the best luxury holiday destinations in the world, so recent holidays have been on Velaa Private Island and Royal Mansour in Marrakech.