model woody harlow attends launch of Kimpton de Witt Amsterdam

Amsterdam’s reputation as a party town isn’t exactly new. It’s long been the go-to capital for a hedonistic weekend whirling in and out of the clubs and bars hidden within the city’s canal-woven core, but more recently the Dutch party scene has grown up. Luxury hotels such as The Dylan are now offering high end party packages, specially designed for the well heeled club-goer, and the opening of the US boutique chain, Kimpton de Witt’s first European hotel in Amsterdam is testament to the growing demand for a more modern kind of luxury. Charlotte Davies joins the likes of Winnie Harlow, Vanessa White and Mary Charteris for a sophisticated soirée at the city’s newest boutique residence.

Known for its design-centric hotels, it’s unsurprising that Kimpton Hotels & Restaurants chose to launch it’s first European outpost in Amsterdam, but whilst other trendy boutiques have been opening their doors along the leafy streets of the Jordaan  neighbourhood or the well-trodden canal ring, Kimpton De Witt is conveniently located in the city centre district, just a stone’s throw away from the central station positioning it as the perfect weekend stop-over. Indeed many of this evening’s glamorous guests have flown in just for the night.

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We join supermodel Winnie Harlow, DJ Chelsea Leyland and singer Vanessa White at a luggage tag making workshop with Heaps and Stacks in the hotel’s industrial-chic bar and restaurant, whilst DJ and singer Mary Charteris’s cheekbones are painted with glitter by make-up artists Shine Shack. Other guests nod along to the atmospheric beats mixed by Amsterdam-based DJ Emanuelle Vos, sipping gin cocktails, and nibbling on lobster rolls in sultry corners.

kimptonhotels.com

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Penguins in Antartica against backdrop of ice glacier
The great migration of wildebeest through Tanzania and kenya is one of the nature's most extraodinary wonders

The Great Migration, Tanzania & Kenya

Geoffrey Kent is the founder, chairman, and CEO of Abercrombie & Kent, one of the world’s most respected luxury travel companies. In his first column for LUX, Mr. Kent marvels at nature’s most extraordinary wonders.

From Africa at its rawest to Japan at its most genteel, experiencing these natural phenomena will remind even the most jaded traveller of what a privilege travel is and our place in the world. I have always believed that in nature we are completely unified with all of life…

Sakura, Japan

No season’s arrival is more celebrated than that of spring. People rejoice in shaking off winter’s grip and greeting the season of new life. In Japan, one million cherry trees blossom. Known as sakura, it starts in the south and moves northwards, following a wave of warm weather. Clouds of pink appear as daytime temperatures reach 17 degrees Celsius. As they have been doing for centuries, locals picnic under these trees – a custom known as hanami. In the modern capital Tokyo, people flock to Ueno Park. In the ancient Kyoto, the Philosopher’s Path is an inviting place to relax and reflect on the wonder of nature.

Nature's blossom in spring in Japan

Sakura, Japan

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In my experience the most rewarding, but often over-looked way to experience Japan – from its timeless mountain villages to its delicate cuisine, distinctive architecture and graceful gardens – is to approach it from the sea. A small expedition yacht provides just the right balance between luxurious on-board amenities and access to remote villages, places that the big cruise ships simply can’t reach. This access illuminates Japan’s history and culture, arts and architecture, gardens and nature, as well as its culinary traditions, with experiences that reveal the country through a local lens.

Each day brings unexpected delights. During one visit to beautiful Kenroku-en Gardens, we were invited into a teahouse to savour delicious ‘fragrant peach’ ice cream.

The Great Migration, Tanzania & Kenya

Every year more than a 1.5 million wildebeest, 200,000 Burchell’s zebra and a smattering of trailing Thomson’s gazelle make a 1,900km odyssey between Tanzania’s Serengeti and the Masai Mara in Kenya. Instinct and the smell of rain spurs the herds forward with two things in mind: food and water. They are following the rains in search of fresh grass. Along the way, many migrating animals fall prey to waiting predators including lion, leopard, cheetah, crocodile and hyena.

Read Next: Britain’s newest literary festival in a house made famous by political scandal 

One year when I was on safari with Richard Burton, I was getting him a drink at the bar in the mess tent when I heard a roar and a lot of screaming and turned to see two lions bringing down a buffalo in our campfire. I quickly upended the table, sending the crystal and china flying, and gathered the guests behind it as a barricade. What an amazing spectacle it was to watch! The next day Richard Burton wanted to know if we could do it again. He thought I’d set the whole thing up – nature is full of surprises!

During the Migration, sightings of predators taking down prey are common. Visit Tanzania between January and early March to see thousands of wildebeest being born each day. Then from June through September, vast herds are on the move through Kenya.

The Monarch Butterfly Migration, Mexico

The migration of the Monarch butterflies is one of the most astonishing of all natural wonders. Every autumn, tens of millions of Monarchs travel from the eastern USA and Canada to Mexico’s Sierra Madre Oriental Mountains – their winter hibernation grounds. It’s an epic journey for these creatures in distance and – most intriguingly – they do it without ever having been there before. A butterfly that departs from Canada will never return. Nor will its progeny for the next two generations. It is the third generation that sets off once more from Canada for the same twelve mountains… 5,500 kilometres away. An amazing natural mystery.

The March of the Penguins, Antarctica

For those dreaming of genuine adventure, Antarctica is nature’s last frontier. This pristine landscape of mountains and glaciers remains largely untouched by civilization and wildlife abounds.

One of the most inspiring is the Emperor Penguin colony in Atka Bay along the Weddell Sea coast of Antarctica. The penguins breed on the sea-ice in bitterly cold conditions. Once an egg is laid, the female leaves the colony, giving the egg to her partner, who carefully puts it on top of his feet and covers it with a skin fold to keep the egg warm – even when the temperature drops below −35°C.

The mother will return in July when the chick is ready to hatch. They are very small, weighing only about 150–200g (adult penguins weigh 22-30kg at this time of year). They have a thin layer of down and are not yet able to regulate their own body temperature, so it is up to the parents to keep the chicks warm.

Wonder of nature: Penguins marching through Antarctica

The March of the Penguins, Antarctica

By September, the chicks have grown a thick cover of down and are developing quite rapidly. Growing requires a lot of energy so they are always hungry. It now takes both parents to go out and gather food for the youngsters. At night, the little ones left in the colony form huddles to keep warm.

In December – when we visit the colony – the chicks are nearly as big as their parents. Small black patches appear on their flippers. They are beginning to grow real feathers and they start shedding their down.

Warmer temperatures cause the ice to break up, bringing open water closer to the nesting site. The chicks are now old enough to swim and fish, and we watch enthralled as they begin to take to the ocean themselves.

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Cliveden House landscape at sunset
Cliveden House at sunset, the setting for the new literary festival

Cliveden House has played host to some of the most famous names in literature

This weekend, Cliveden house hotel just outside London will reverberate to the musings and debates generated by the world’s newest literary party.

Speakers and panel moderators read like a who’s who of modern historical, literary and political writing: Simon Schama, Robert Harris, Simon Sebag Montefiore, Anne Applebaum, Robert Service, Lady Antonia Fraser, Ian McEwan, Sebastian Faulks, Daisy Goodwin

But the Cliveden Literary Festival is not really a parvenu to the world of literature: it is more the regniting of a remarkable and long history of a house that was first made famous by the Profumo sex scandal, which brought down a British government in the 1960s.

The festival is the brainchild of Natalie Livingstone, a Cambridge-educated bestselling author (and former Condé Nast writer), who, along with her husband Ian, owns the lease on the house. LUX Editor-in-Chief Darius Sanai talks to Livingstone about why she’s doing it.

Black and white headshot of Nathalie Livingstone author and founder of Cliveden Literary Festival

Nathalie Livingstone

LUX: Why did you decide to start the Cliveden Literary Festival?
Natalie Livingstone: The literary festival originated from the research from my book (The Mistresses of Cliveden) when I was finding about all these incredible women in Cliveden’s history. I had expected in the course of my research to find lots of great figures from British history, from Queen Victoria to Winston Churchill. But what I hadn’t expected was to find so many literary giants. It was incredible. Right from its inception in 1666, Cliveden has been a magnet and a muse for really great writers, from Alexander Pope, to Jonathan Swift, to Tennyson. Anyone who was anyone from the global literati was a guest at Cliveden. George Bernard Shaw, J M Barrie, Rudyard Kipling – the list goes on. So the literary festival is about reviving that tradition and evoking the spirit of these incredible writers and hopefully writing a new chapter in the history of the house.

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LUX: Was it a challenge to get a critical mass of authors to take part?
Natalie Livingstone: No, amazingly. I think it is a testament to the allure and seductive quality of Cliveden. Absolutely no one said no! It was my dream list and every single person on the list said yes.

LUX: You studied history and not literature. Are you a historian? Are you a writer?
Natalie Livingstone: I don’t really think I’m either. I studied history and I am passionate about history. I would love to consider myself a writer, but I don’t really think you are ever a true writer until you’ve written more than two books. So, neither at the moment, but I hope one day I will be.

Stately Home gardens at Cliveden House, location of Cliveden Literary festival

The grounds of Cliveden House

LUX: Eighteenth, nineteenth and twentieth century society revolved around authors to a large extent. Now with the rise of social media, everyone is writing something, even if it is twenty words on Twitter. Do authors have the same influence as before?
Natalie Livingstone: I think the written word is always going to have huge amounts of influence. Where that written word is published and whether it is 140 characters on Twitter to a tome written by Niall Ferguson, I think writing is still incredibly influential. I suppose that is part of a wider discussion on books, internet and magazines. But I believe the written world is still as influential as ever.

Author black and white headshot of Ian McEwan

Author Ian McEwan, a speaker at this year’s festival

LUX: The literary salon used to be the centre of polite and influential society. However nowadays, everyone is clustered around contemporary art, when artists used to be seen more as outsiders. Artists are now very rich, collected and celebrated. Do you think authors have been pushed to one side by art?
Natalie Livingstone: No, I think it is all part of the wonderful mix of the arts. I don’t think authors are incredibly lucky and respected and still have huge fan bases.

LUX: What excites you most about the festival?
Natalie Livingstone: Everything! The whole concept of the festival and the idea of being able to restore Cliveden as this literary salon, as well as the incredible collection of names. It is everything from beginning to end that is beyond exciting. So many of my dream dinner party guests are talking at the festival, so for me personally it is like having my dream dinner party realised.

Read next: Lucian Freud’s etchings at Martin-Gropius-Bau, Berlin

LUX: What makes it different to something like Hay Festival of Literature and the Arts?
Natalie Livingstone: It is much smaller and is more of an intimate experience. You have a real opportunity to mix with the writers. There is a drinks reception on the Saturday night, where people will be able to meet their favourite writers. Of course, there are these incredibly historic surroundings. The idea of having these wonderfully exciting writers speak in the Great Hall of Cliveden is magical.

Image of grand drawing room with waiter at cliveden house stately home near london

The Great Hall at Cliveden House

LUX: For you personally, is there a genre of books that is particularly interesting and why?
Natalie Livingstone: I love historical biography, because I could never get bored of dissecting people.

Author headshot of Sebastian Faulks

Sebastian Faulks, another speaker at the festival

LUX: Do you have any favourite authors?
Natalie Livingstone: Every single person who is speaking at my festival is one of my favourite authors!

LUX: You are very diplomatic. If you could choose to hold a literary festival anywhere in the world, where would you choose?
Natalie Livingstone: Cliveden! It has the history and the allure, it has the grandeur and space. It has the authenticity and it completely lends itself to a literary festival, which is why I have chosen it.

LUX: Do you and your husband have any other plans for Cliveden?
Natalie Livingstone: We really want to do the right thing by Cliveden. We have so much love, respect and passion for Cliveden and we care about it so much as a project – we just want to do the very best for it. We want to have the very best restaurant and bar, the very best literary festival. It is all about honouring that legacy and continuing it in the most respectful way possible.

LUX: What book would you take to Mars and why?
Natalie Livingstone: ‘Citizens’ by Simon Schama, because that ignited my passion for history.

clivedenliteraryfestival.org

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Lucian Freud painting of Susanna Chancellor and his dog, Pluto on display in Berlin
Lucian Freud etching of naked woman reclining on a bed

Lucian Freud: Girl Sitting, 1987. Courtesy of the Lucian Freud Archive/ Bridgeman Images UBS Art Collection

Whilst Lucian Freud is best remembered as a painter for his fleshy, bulging portraits, his etchings are perhaps even more striking examples of his intensive analytical observation and pursuit to capture the transient moments of life. The works record the folds, textures and irregularities of the skin, along with the moods and expressions of his subjects

 

Lucian Freud painting of Susanna Chancellor and his dog, Pluto on display in Berlin

Lucian Freud: Double Portrait, 1988-90. Courtesy of the Lucian Freud Archive/ Bridgeman Images UBS Art Collection

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For the first time, over fifty of the British artist’s etchings are on display in his birth place of Berlin at Martin-Gropius-Bau along with one watercolour and two paintings on loan from the UBS Art Collection including “Double Portrait” which depicts his dog, Pluto and one of his favourite models Susanna Chancellor. Many of the etchings are exceptionally large, such as the sleeping image of Sue Tilley, a model that Freud found particularly fascinating. In the piece, the model appears to be floating, naked despite the fullness of her body. Freud, as in so much of his work, manages to simultaneously encapsulate physicality in voyeuristic detail whilst also conveying a powerful sense of energy and emotion.

Lucian Freud etching of large woman sleeping

Lucian Freud: Large Sue, (Benefits supervisor sleeping), 1955 Courtesy of the Lucian Freud Archive/ Bridgeman Images UBS Art Collection

Millie Walton

Lucian Freud: Closer” runs until 22nd October 2017 at Martin-Gropius-Bau, Berlin

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A landscape scene of summer in the Swiss alps
Summer in the swiss alps, green mountains

Panorama of summertime in St. Mortiz

A short blast in a vintage Ferrari from the crowds of the Côte d’Azur, the two most prestigious villages in the Alps offer glamour, sunshine, fine dining and more than enough space. Darius Sanai would go nowhere else in summer

Walking through the grand dining room of Le Restaurant at the Badrutt’s Palace, I felt two dozen pairs of eyes glance up at me. Our table, a good one, was a little beyond the centre of the room, meaning a decent double catwalk’s length stretched between the landing at the bottom of the staircase leading from the lobby hall, to the sanctuary of the table. The glances – Badrutt’s Palace clientèle is far too well brought up to stare – varied between the mildly interested and the appraising. The Palace has a claim to be the grandest legacy hotel of the Alps, the epitome of old money in St Moritz, the resort which personifies Europe’s inherited and regenerated wealth. Its regular guests wanted to know who was joining them.

After a couple of days, we got to know the Badrutt’s regulars, at their tables. The lady in the Chanel glasses, immaculate in white Dior trousers and a vintage Dior jacket, sitting and nursing her green tea and water, reading the Süddeutsche Zeitung. A ringer for Greta Garbo, she could have been one of a number of German movie stars from the sixties. The young couple with a little boy who conversed with them in French, English and Italian, seemingly at will, and who had befriended all the waiters. The jolly English family, extending from a baby via teenage girls on Instagram to a paterfamilias who looked like he had enjoyed as many bottles of First Growths as he had bought and sold enterprises. After three days, we started to feel at home.

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Badrutt’s is the hotel of St Moritz; if you want to get in to its New Year’s Eve gala dinner, you had better get in your time machine and ensure your great-great-grandmother marries a significant German count. We were there in summer, when it’s easier to book a room; in fact, the occupancy ratio was perfect, with enough people around to create a buzz, but enough space not to feel remotely crowded.

If Le Restaurant, with its etiquette and dress code, suggests the formal holiday experiences of the past, around 50m diagonally below it, cut into the rocks, is the holiday experience of today. A 25m pool, with picture windows facing the mountainsides across the valley and an extensive spa and wet area. The pool is bordered on one side by a 5m-high rock formation, which serves as diving board, waterfall and, underneath, a cave. Outside on the great lawn are swings, slides and a trampoline, all with a dramatic view.

Grand suite bedroom at the five star hotel in St. Mortiz, Badrutt's Palace

The Hans Badrutt Suite

Our rooms had the same view, albeit from a slightly higher vantage point; creams and floral curtains, subtle wood panelling and mahogany furniture suggest the tastes of the European aristocracy who form the heart of the hotel’s clientèle.

One of the most charming, and certainly the most surprising, element of the hotel is a little chalet that sits on the hillside across the road from the main building. Chesa Veglia is an ancient chalet that now belongs to the hotel, housing three restaurants, including a casual-chic rustic pizzeria, where the super-rich can eat with their hands and pretend to be normal people. We sat at a table on a first floor balcony, watching informal St Moritz in action; one of our party was invited down to make pizzas with the chefs in the open kitchen. The pizzas, Napoli-style, were picture perfect.

Read next: CEO & President of Acqua di Parma Laura Burdese on the unique beauty of craftsmanship

Outdoor swimming pool at five star hotel in the Swiss Alps

Badrutt’s outdoor swimming pool

It would have been easy to chill out in Badrutt’s for five days, perhaps stepping outside for a little jewellery shopping, before sliding into the limo and slipping away across Europe. I get the idea a lot of people do; while it’s 1800m up in a high Alpine valley, unlike many villages in the Alps, St Mo is not exactly crawling with people who look like they clamber up rock faces for fun.

But the mountains either side of the broad, high, light Engadine valley are far too tempting for anyone with a little mountain blood in them to ignore. On the second day, we took a funicular train through a steep forest, emerging at an Art Deco-inspired hotel called Muottas Muragl. High on a ledge just above the tree line, the hotel’s restaurant terrace floated over the Engadine, with the valley’s lakes set as blue splashes against the deep meadows; and also over another valley branching out immediately below, which rose to a wall of high peaks thickly covered in snow and ice. In this surreal setting, on a warm, sunny summer’s day, we sat on the terrace, and chose from a short menu strong on local ingredients and with a dash of panache. Perhaps it was the clear mountain air which augmented the senses (although a lack of oxygen is supposed to suppress taste buds) but the beef tartar with cognac tasted more vivid, more limpid, than its famed counterpart at the Cipriani; and a ‘Pork steak gratinated with tomato and mountain cheese on red wine sauce with pappardelle and vegetables’ had clearly delineated flavours, unlike some mountain food. The Muottas Muragl terrace was as memorable as its name, and we lingered until the view started to fade in the late afternoon light, before staggering down the mountain through a forest.

Chalet style hotel the Alpina Gstaad in the summertime

The Alpina is built on a knoll just above the village of Gstaad, facing off against the Palace, on its neighbouring knoll.

Apart from St Moritz, Switzerland, the country where the world’s wealthy have stored their money and visited for sport for the past century or more, has a few mountain village destinations that are known to the high net worth A-list. Zermatt, Crans-Montana, Verbier, Wengen, Arosa; all have their bijou appeal, their private bank branches, and are witness to a parade of furs in winter. But perhaps nowhere epitomises what Henry James called “the happy few” (the reference was ironic, but is now not always used as such) as Gstaad. And if the Palace Hotel has been the embodiment of old money at play for more than a century, its new rival, The Alpina Gstaad, tries to take everything to a new high.

The Alpina is built on a knoll just above the village of Gstaad, facing off against the Palace, on its neighbouring knoll. For breakfast here, we were ushered through a room combining ancient Alpine timbers and contemporary art and colour, onto a granite-lined terrace next to a flowerbed and a few metres from an outdoor pool. Beyond the pool, a lawn and more flowers, and then an uninterrupted view across a broad valley to round, forested hillsides, with rocky peaks splashed with snow beyond.

It was August when we visited the Alpina. Gstaad is one of the lower Alpine resorts, at 1000m lying roughly halfway between the high-Alpine vibe of the likes of St Moritz or Courchevel, and sea level. The sunshine was hot, tempered only by a hint of glacial cool. It wasn’t a great leap to imagine the crowds on the Côte d’Azur and people leaping off yacht diving boards, a few hours’ drive in the Ferrari, to the south. But, unlike the Med, the terrace at the Alpina was both sun-splashed and tranquil. After breakfast we walked the few metres to the pool’s sun loungers and spent the day sipping Margaritas and occasionally taking a dip, being careful not to get burned in the (semi) mountain sun. We had a few other people for company, but it all felt as private as having your own villa.

In the evening, we strolled down to the village; there were no teeming hordes here, either. Just enough people, from families to retired residents and the occasional romantic couple; just enough vibe.

Gstaad may be a gentler location, but it is still very much in the Alps; on the next day we took a cable car to Wispile, at the top of the small mountain overlooking the village. From the terrace here there is a 360-degree vista, towards high, glacial peaks to the south; across spiky, meadow-lined foot-peaks to the east and west; and to the northernmost ridge of the Alps to the north, with a glimpse of the hazy lowlands of Switzerland beyond. We walked along a series of meadows, past forests and farmsteads, through herds of curious cattle, and were ourselves herded onto a rock by an Appenzell cattle dog, until its smiling farmer owner emerged from a barn to tell us she was harmless.

Read next: The world’s most exclusive polo tournament in Gstaad

A steep, zigzag path dropped down through a forest, so dark we only had snapshots of the precipitous fall beneath us; after almost disappearing through a muddy field, the path emerged again and led us to a hotel on the edge of a little village, Lauenen, where we had a refreshing beer and called a taxi to take us back to dinner in another picture-postcard village, Schoenried. This is on a little plateau above Gstaad, and at its gourmet restaurant, Azalée, we felt we had no choice but to try the Simmental beef – acclaimed throughout the Alps, and from the valley we were in. The Azalée, with its vista across the Gstaad valley, was a gentle, spiritual place to be as summer evening turned into night.

Switzerland is the home of haute-hotellerie; nowhere has a higher concentration of five star hotels in small towns and villages. These hotels have faced a challenge as a new generation of wealthy guests arrives, brought up on the casual chic of the likes of Ian Schrager’s creations and the Soho House group. How much do they bend to cater for the new guard? In some cases, new hotels have sprung up which feel a little out of place, Greenwich Village in the Alps. In the case of the Alpina, which was created in 2012 on the site of an old hotel of the same name, the balance is exemplary. The building feels local through its extensive use of timber rescued from abandoned Alpine buildings and huts, and through the local stone on display throughout. It feels contemporary through the openness of its internal architecture, its colour, light and the museum-quality art displayed throughout, courtesy of its owners. None of that would matter if the quality of offerings didn’t stack up.

Attic room at the Alpina Gstaad, a five star hotel in the swiss alps

Chalet style interiors of one of the bedrooms at the Alpina

Sommet, the main restaurant, has a Michelin star, the highest Gault-Millau rating in the area, and a wall sculpture composed entirely of cutlery, under which we were seated. Expecting fine but rich Alpine fare, we were surprised: then executive chef Marcus Lindner’s tasting menu is 100% vegetarian, with carnivores catered to on request (Lindner has since been replaced by Martin Göschel). Redolent of the aromas of Alpine meadows, the succession of dishes proved that meat is far from essential to a signature evening: as one example, the artichoke with truffles from Perigord, sweet chestnut and brussels sprout was as savoury and protein-balanced as you could hope. It would be hard to match such an experience – in such a refreshingly light ambience – let alone to do so in the same establishment.

 

Interiors shot of Japanese restaurant at five star

Megu is the Alpina’s Japanese restaurant, bringing the flavours of Tokyo to the Swiss alps

Megu is a Japanese restaurant, overseen by chefs who have come over from the homeland expressly to create a slice of finest Tokyo in the Alpine hills. Toro tartare with ponzu sauce, fresh water shrimp and Oscietra caviar was a study in subtle contrasts. We developed a serious yearning for the crispy asparagus crumbed with Japanese rice crackers, chilli and lemon – more, please, every day. It’s fine dining with a slice of wit, and a thorough and reasonably priced Swiss wine list – pinot noirs from Malans, Cornalin from Valais, local white grapes from the edge of Lake Geneva, all wines you just can’t find outside Switzerland.

Megu–sleep–pool terrace–repeat. What’s not to love about August in the Alps?

Our thanks to the Switzerland Travel Centre for organising first-class transportation on Switzerland’s beautifully efficient train network: switzerlandtravelcentre.co.uk

badruttspalace.com, thealpinagstaad.ch

 

 

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Reading time: 10 min
Will Chalker and family in the new acqua di parma campaign for colonia pura
Picture of model will chalker and his family in black and white for Acqua di Parma. Natural beauty

Model Will Chalker and his family star in the campaign for Acqua Di Parma’s newest fragrance, Colonia Pura

As famous for its striking yellow Art Deco packaging as its ‘colonias’, Acqua di Parma has developed over the years into a lifestyle brand that embodies the romance and artistry of Italian culture. Now under the leadership of new CEO & President, Laura Burdese the LVMH-owned brand is moving in new directions. Following the launch of Colonia Pura, the brand’s latest fragrance, LUX’s Digital Editor Millie Walton speaks to Burdese about the beauty of the Italian lifestyle, working with artisans and the future of luxury.
Colour headshot of Acqua di Parma's new ceo and president laura burdese

Acqua di Parma CEO & President Laura Burdese

LUX: All of Acqua di Parma’s products are handmade. How do you maintain a high-level of craftsmanship in the fast paced, technologically driven world?
Laura Burdese: I must admit that matching hand-crafted processes with an always faster time to market, while delivering outstanding products, is not easy at all, but this is our mission. We have some very clear convictions as a brand. We love things made slowly and by hand, so they develop a soul and we cherish the imperfect as the only true form of perfection. We admire the handcrafted, the slightly irregular, the almost perfect. As you may notice, labels on our products are not perfectly applied sometimes, this is because they are applied by hand. So are our iconic rounded hatboxes.

With this in mind, the high-level of craftsmanship resides in the ability to work closely with our artisans since the very inception of a product, controlling each phase of the process and not only the final outcome. I believe this is a very productive and stimulating way to manage the creative process, which let the essence of our products shine through.

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LUX: How does the city of Parma – the birthplace of the brand – continue to inform the company?
Laura Burdese: If you just have a walk in this beautiful Italian city, you can easily recognise that our iconic shade of sunny yellow resonates with the yellow façades of Parma’s historical buildings.

Elegance, beauty, harmony, mastery of craftsmanship: this is what you perceive in Parma and what the brand first experienced in this city, making its own from the very beginning in 1916. More than that, today Parma is a vibrant, lively Italian city, still a source of inspiration for us because here you can truly “smell” the warmth of the most authentic Italian way of life. And I believe that it’s the same spirit you can smell in all our fragrances.

Read next: Czech designer Jiri Kalfar’s bumble-bee collection at London Fashion Week

LUX: How do you see the luxury market developing over the next ten years?
Laura Burdese: It’s a very difficult question. Things are changing so fast nowadays that it’s already difficult to foresee what could happen in 1 or 2 years’ time, nothing is written in stone and 10 years is an eternity. However, I do believe that the luxury market will continue to grow, even if probably at a slower pace, therefore strategy will become paramount. Emerging battlegrounds will be e-business and data management, with the necessity to drive-up investments into luxury, bespoke and taylor made experiences and “lifestyle branding“.

Will Chalker and family in the new acqua di parma campaign for colonia pura

LUX: Acqua di Parma supports many art forms and is culture partner of venues such as the Peggy Guggenheim Foundation in Venice. How do visual arts influence the brand?
Laura Burdese: Acqua di Parma has always supported the best of artistic creativity in all its expressions with publications, partnerships and events. As you properly mention, one particularly prestigious activity is our collaboration with Guggenheim Intrapresæ, a group of companies dedicated to sustaining the Peggy Guggenheim Collection.

We understand the importance of our cultural heritage and we keep considering it as a major source of inspiration in all our creations. In this respect, the values that Acqua di Parma espouses are perfectly reflected in Italian visual arts: the same adventurous spirit and the courage to set aside what is good in order to achieve the best. But also the ability to create styles that resonate with people, that communicate something new, something truthful, allowing the essence of things to shine through.

LUX: Your leather and home collections also promote hand-crafted products. Is it difficult to find traditional artisans nowadays?
Laura Burdese: Honestly, it’s pretty difficult. Making a creative process, such as the artisanal one, also effective and efficient is not simple, but this is how we work. This ambitious objective is possible only if you, as a brand, co-operate closely with your craftsman, motivating them, stimulating them and making them proud to work for you. And I believe this is what give our products such a shining soul.

Collection of fragrances by Acqua di Parma

Acqua di Parma’s latest fragrance, Colonia Pura

LUX: Do you have a favourite fragrance?
Laura Burdese: While I wear different Colonias, depending on the season, I prefer to wear Blu Mediterraneo Fico di Amalfi in summer. Usually I gravitate towards scents that are unisex or more masculine. Lately, I’m in love with Colonia Pura, our new fragrance, a light, modern interpretation of the iconic Acqua di Parma Colonia. True to Colonia, Pura opens with the brand’s signature citrus top notes of crisp bergamot, orange and petit grain. A heart of narcissus, jasmine and coriander, and base of cedar wood and patchouli give Colonia Pura a youthful energy.

Read next: Ruinart’s decadent art hub at Rosewood London

LUX: What’s next for Acqua di Parma?
Laura Burdese: We have always represented the most refined elements of the Italian way of life, but in an understated, discreet way. We are now leading the brand to the next level and keep developing this beautiful Italian story into a global success. Our new fragrance, Colonia Pura, opens a new chapter in the history of Acqua di Parma. Undeniably, Colonia Pura advertising campaign makes a turning point in the way we’ve always communicated. For the first time in our history, we presented an advertising campaign which features a man and his family.

Small boy eating yoghurt pot in a scene of natural beauty

We chose Will Chalker because we believe he embodies the spirit of the brand and conveys a strong yet modern and open masculinity. We were quite fortunate that Will’s family is in the campaign – his wife and young son add a lovely spirit of authenticity and warmth. The campaign images depict Will as a sincere and affectionate father and husband, values that are important in the Italian culture and resonate with the Acqua di Parma client.

As for the next launches, I cannot really reveal our new creations at the moment, but I can assure you they will express the Acqua di Parma personal signature and perfectly embody our brand equity. They will be scents of Italy and scents of life. The ultimate in sophistication: light and simple. Stay tuned.

LUX: How do you relax?
Laura Burdese: I do relax spending time with my kids and my husband. I know it might sound weird, but honestly I have a hectic life and quality time with them is just a gift. We do a lot of sport together, watch movies, talk, share experiences. It’s just about little things that make me feel complete and relaxed!

LUX: What’s the secret to Acqua di Parma’s success?
Laura Burdese: Acqua di Parma is so successful because it is much more than “just” a fragrance brand, it’s a way of life in its most sophisticated form. Our secret has always been moving forward into the future while keeping our DNA intact. We are very proud of our heritage, history and values but we never forget to keep an eye to the future and new generations. Our most important skill and what distinguishes us is the ability to bring style – specifically Italian style – into life.

acquadiparma.com

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Reading time: 6 min
Czech fashion designer Jiri Kalfar launches honey bee collection
London fashion week show with Jiri Kalfar

Czech based desinger Jiri Kalfar on the catwalk launching his Honey Bee collection at LFW

Czech based fashion designer Jiri Kalfar is known for challenging gender stereotypes through his fluid, vibrant designs. In 2015, NYLON named him as one of the hottest emerging designers to watch and his collections frequently grace the pages of Schön!, Tank, Harpers Bazaar and Vogue.it, yet the young designer is more concerned with protecting our planet than his blossoming fame. Millie Walton caught up with Kalfar after his LFW show at L’escargot to talk about theatre, honey bees and the future of sustainable fashion.

Millie Walton: You trained as a ballet dancer, how does that influence your approach to design?
Jiri Kalfar: It is hard to say. I grew up in the theatre. It has been a massive part of my life and I think it actually influences me without even me thinking about it. It is part of me, and therefore part of my work and my design. It is more about a character though. When I design, I do not see the everyday woman hidden and following the crowd. Quite the opposite. I like to give a story to a person. To add to its character and a personality. I love variety and I don’t really understand minimalism. It bores me. Life is a show. Each of us is an individual character with different personal style.

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Jiri Kalfar's S/S18 collection inspired by honey bees

The Honey Bee S/S18 collection

MW: How would you describe your aesthetic?
JK: Unique. Out of the box. What I do, doesn’t really fit into any box. It is not a street-wear, not (yet) a haute couture, not office wear. Yet, you can wear it for any occasion. It is only up to you, how decide to wear it. What to add to it. What to hide. What size to choose. I like to play. And I love seeing people styling my clothes in different ways. It is the biggest satisfaction.

MW: Which fashion designers do you find most inspiring and why?
JK: There are three whose work and style I admire. Their legacy or how they are approaching fashion, On the top there would be the ultimate king, Alexander McQueen followed by Vivienne Westwood and John Galliano. Strangely they are British. Oh, and Dries Van Noten too.

Jiri Kalfar's S/S18 includes florals inspired by honey bees' habitat

The Honey Bee S/S18 collection

MW: In past interviews you’ve talked about your interest in theatre, do you think about particular characters when you’re designing? Does that change from garment to garment or collection to collection?
JK: Yes, actually. I like to create a character, a living soul. It can be anybody. But the game is to transform yourself. Into a tsarina, a king, a goddess, a pirate .. for every day or just to glam-up . But still be yourself.

We all wear costumes in some way. A costume which we would bland in into a society. And I like to do the exact opposite. A clothes which would enhance your personality. Society blends into you. Because you are confident enough. Fearless.

Read next: Burberry’s celebrates social portraiture and British spirit 

MW: Your S/S18 collection takes influence from honey bees, why bees?
JK: It is an ecological message actually. I fear what our generation does to this planet. What our legacy will be for generations to come. What will happen to the animals, to the North pole and the oceans. What will be the aftermath of our action.

I am aware I can not save the planet by doing that. I am not naïve but I believe each of us has a voice and can do something to make the world better. So the inspiration for this collection is very simple : Save The Bees! Because they are dying due to the changes of the ecosystem. And without the bees, there is no future, I am afraid.

Czech fashion designer Jiri Kalfar launches honey bee collection

Jiri Kalfar London Fashion Week 2017 exhibition at L’escargot

Millie Walton: How do you ensure that all of your clothes are manufactured sustainably?
Jiri Kalfar: All my clothes are done ethically, in my studios in Prague. We make everything there. Therefore I know we do not over-produce, which means that the pollution is absolutely minimal. And so is the waste. All my collections are generally zero-waste. Even if we don’t use all the material in one collection, I will use it in the next one or the one after. It is important to me.

Shot from LFW 2017 Jiri Kalfar catwalk show

Jiri Kalfar London Fashion Week 2017 catwalk show

MW: Do you think that the luxury world is becoming more aware of environmental concerns and what does that mean for the fashion industry?
JK: I hope so. I like to think there will be big boom of sustainable fashion soon. Same as really happened to the food industry. The luxury there is actually to grow your own food or to buy organic. No fast food but slow food. Time became important. The quality over quantity. To know where your dinner comes from. Maybe the same will happen with fashion. To know the journey of a product from the beginning to end. To understand the ethicality and importance of a truly crafted piece. Of its value. The luxury doesn’t really mean money in this case, it means knowledge and consciousness.

jirikalfar.com

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Reading time: 4 min
An artistic interpretation of Runiart Champagne House by Scottish Artist Georgia Russell
Hubert Le Gall's artistic interpretation of Runiart champagne house

Ruinart 12 months Vineyard Shadows by Hubert Le Gall

Ruinart has long been a supporter of contemporary arts. Since 1896, the champagne house has commissioned renowned artists to present their own unique vision of the brand, with the most recent interpretation by internationally acclaimed Spanish artist and sculptor Jaume Plensa. Today, in the run up to Frieze London and Frieze Masters, Ruinart (the fair’s official partner) has opened a hub at the Rosewood London for art and champagne lovers to further explore the brand’s artistic history.

The Ruinart experience at Rosewood London begins with a walk through the lobby and Mirror Room to admire six of the artworks previously commissioned by the champagne house by Maarten Baas, Georgia Russell, Gideon Rubin, Piet Hein Eek, Hubert le Gall and Erwin Olaf. The selected pieces represent each artist’s interpretation and celebration of different aspects of the Maison Ruinart including the vision of its creator, its history and the specialised art of champagne making from vine to bottle.

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Runiart champagne bottle Blanc de Blancs

Runiart Blanc de Blancs

Visitors can then enjoy a glass of Ruinart Blanc de Blancs by the glass or a Ruinart Champagne Cocktail expertly created by the Rosewood London mixology team and paired with a Lobster Croustade, Avocado and Wood Sorrel canapé. There are also specially curated menus to be enjoyed amongst the artworks in the Mirror Room  including the Ruinart Champagne Breakfast Menu with ‘Lobster Eggs Benedict’ and ‘Fresh Strawberries and Ruinart Mimosa Granite’ and the Ruinart Afternoon Tea Menu inspired by Hubert Le Gall’s artwork on display in exhibition.

An artistic interpretation of Runiart Champagne House by Scottish Artist Georgia Russell

The Grand Livre by Scottish artist Georgia Russell for Ruinart

Read next: Richard Mille’s Art & Elegance in Chantilly

For true decadence, the hotel’s Ruinart x Frieze Experience includes a one night stay in a deluxe suite for 2 people with a bottle of Ruinart champagne on arrival, Ruinart champagne cocktails and paired canapés in the Mirror Room, chauffer driven BMW transfers to and from Frieze London, plus VIP access to Frieze London and a glass of champagne at the Ruinart Bar at Frieze London. Yes, please!

The Ruinart Hub at Rosewood London runs from 25 September to 25 November.

 

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poet, model and film-maker greta bellamacina
London-based Greta Bellamacina is one of those people who, once discovered, you can’t stop thinking about. Like a sleeper hit which innocuously makes its way up into the charts as one by one fans fall in love, Greta’s infectious presence online and throughout the arts scene utterly grabs hold. For October’s Vogue she is included in a feature about today’s progressive new poets, along with Cecilia Knapp, Selina Nwulu and James Massiah – but this is hardly surprising considering the unique blend of talents in her arsenal. LUX’s contributing poet, Rhiannon Williams speaks to the woman behind the words about the plight of of the public library, how her varifocal talents intersect, and her inspirations.

Ethereally beautiful, the first thing that strikes you is that Greta looks every part the romanticised ideal of ‘poet’. But it is her passion for what she does which, more than anything, startles – and makes you want to follow in her lead as a force for good in a confusing world. Greta’s work as a poet, film-maker, activist and model crosses and fuses borders, something that is seen more and more these days as people resist the restrictive boundaries of having a single ‘profession’ – and what could be more fitting for a modern-day poet? She published her debut poetry collection ‘Perishing Tame’ in 2015 through New River Press, a poetry press which she co-founded herself, and launched it into the world with readings at Shakespeare & Co, Paris and The Chateau Marmont, Los Angeles. She has also edited collections, including ‘Smear’ in 2017, an important anthology for young women poets everywhere, and has published collaboratively with poet-husband Robert Montgomery the collection ‘Points for Time in the Sky’.

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In the role of film-maker a particularly significant recent work was 2016’s documentary ‘The Safe House: A Decline of Ideas’, which smartly tackles the state of the British public libraries, spreading awareness of a plight that not enough people are conscious of. For a poet, the savage cuts to public funding that have brought the libraries of the UK to their knees over the last decade is a political outrage that hits very close to home. Greta’s activism with this documentary, which involved Stephen Fry and Irvine Welsh among others, demonstrated a fierce defiance in the face of a crisis of intellectual deterioration, and a prime example of how Greta uses her creative abilities as a force for good.

On top of all this, Greta has been involved in modelling campaigns for the likes of &otherstories and Stella McCartney. One can only pause in awe to wonder how she has time for so much, all the while maintaining an image that is undeniably slick. This is brought about by a stylishness that spans from the arresting design of her website (think arty snaps with poet John Cooper Clarke outside her film premiere), to her Instagram presence (handwritten pages of her thoughtful, searing poetry), to her fashion choices (somewhere in the realm of elfish art student lost on a Victorian couture runway).

poet, model and film-maker greta bellamacina

Greta has appeared in modelling campaigns for the likes of &otherstories and Stella McCartney

Rhiannon Williams: How did you first fall into poetry?
Greta Bellamacina: It has always been there, I’ve always heard words in my head that I felt compelled to write down. I knew from early on that poetry has the power to break your heart and fill it up again within a sentence.

RW: Can you tell me a bit more about the intersection between your talents for film-making, writing and modelling? Do they complement or sometimes clash?
GB: I think I have always been drawn to exploring the truth and beauty in the everyday- and playing with everyday conventions. If you make art in any form I think you have the moral responsibly to make the world a better place and be socially progressive. Fashion can be a fun way to make people feel apart of a new consciousness.

Read next: Kering’s Marie-Calire Daveu on championing long-term sustainability 

RW: In your writing as well as film-making you are an activist, tackling the threat to the public libraries in Britain with ‘The Safe House: A Decline of Ideas’ and promoting the empowerment of girls and female identity with ‘Smear’. Was this always a conscious decision to use an artistic avenue to further a cause, or do you think your beliefs shape your work almost without you realising?
GB: The working class fought for a hundred years to have public libraries. My local one had been turned into a block of luxury flats. But it wasn’t until I kept meeting young secondary school students fighting for seats in the library all round Britain that I understood how much it would change the next generation, change the communities if these temples of learning were to disappear. I think it’s good to let the audience have room to imagine their own futures and memories in these places, in order to shape wider beliefs and bring change. I think thats why when I edited ‘Smear’ I didn’t have any age limit or direct theme of Feminism, I just wanted women to have a place to be uncensored and shameless, a place for women to speak.

RW: What is your creative process – how do you sort through ideas and plans for projects?
GB: Rage, heartbreak and love- usually in that order.

Rhiannon Williams: Who are some poets you could not live without reading?
Greta Bellamacina: I always seem to go back to Ted Hughes, his words have some many eternal, harrowing shades to them. It has a closeness to it that you can’t help feel connected. There are so many more, Robert Montgomery of course, Alice Oswald, Warsan Shire, Heathcote Williams, Anne Sexton….

RW: What are you reading, listening to or excited about right now?
GB: I am listening a lot to Mazzy Star, Patti Smith, Sharon Van Etten and Sleaford Mods right now and really enjoying Warsen Shires poetry collection “Teaching My Mother How to Give Birth”. I’m excited about the morning sun, learning from strangers and finding new worlds in the sky.

gretabellamacina.com

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Reading time: 5 min
Arts and elegance weekend in Chantilly with Richard Millie

This year’s Richard Mille Arts & Elegance at Château de Chantilly kicked off with the inauguration of an exhibition dedicated to Nicolas Poussin‘s “Le Massacre des Innocents” with young singers and dancers leading guests round the park with performances masterfully choreographed by Richard Mille’s Artistic Director Mélanie Treton-Monceyron. In front of the château, guests admired a stunning mise en scène of Salvador Dali’s “Metamorphosis of Narcissus“, whilst inside, a choir sung a moving rendition of “Hallelujah” in front of Picasso’s “Charnier”.

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The automobile rallies were similarly theatrical with close to 800 classic cars competing in the Grand Prix des Clubs. On display were some of the most famous (and beautiful) electric cars in automobile history, from 1899 to the present including La Jamais-Contente from 1899, the first vehicle ever to clear 100 km/hr, and the slick Porsche Mission E. Richard Mille partners Mutaz Barshim, Felipe Massa and Jessica von Bredow-Werndl were spotted admiring the elegant collection of Ferraris on display in celebration the brand’s 70th anniversary, whilst spectators sipped champagne on picnic blankets  in the Fiat Fan Club.

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Reading time: 1 min