Model and photographer, Darwin Gray. Image by Robert Binda

Sydney Lima

LUX contributing editor and Storm model, Sydney Lima continues her online exclusive series, interviewing her peers about modelling life and business.

THIS MONTH: Soon after 20-year-old Darwin Gray signed to London’s Storm Models he was spotlighted as the one to watch in the fashion world, walking catwalks for the likes of  Burberry, Tom Ford, Louis Vuitton and Vivienne Westwood, shooting campaigns for Jack Wills and editorials for Harpers Bazaar and eventually singing to agencies globally from Tokyo to New York. Now Darwin is developing his skills as a photographer, working on a portrait series whilst he is based in Korea.

Sydney Lima: How did you first get into modelling?
Darwin Gray: I was scouted at my cousins wedding by his best man, it was all a weird situation, he came up to me and said I should think about modelling, I just thought he’d been at the bar a bit too long! Then I met Storm a few weeks later and the rest is history.

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SL: What has been your favourite team to work with to date?
DG:My favourite team to date would probably be the Jack Wills team. I was part of two of their campaign shoots, both of which were just as fun as the other. Not at one point did it feel like work, the team were all really nice and good fun- I also met my girlfriend while shooting it so that’s a plus!

Image by Robert Binda

SL: What inspired you to first start taking photos?
DG: I had been modelling a few years before it became something I concentrated on. I was always taking lots of photos and I’ve loved looking back at them because each photo has a little memory it takes you back to.

SL: What’s your favourite subject to take photos off?
DG: My favourite subject would be my girlfriend Lottie, every day I’ll take photos of her either on my phone or camera. I probably have over 10,000 photos of her…

[Best_Wordpress_Gallery id=”25″ gal_title=”Darwin Gray”]

Above: A selection of Darwin’s photographs. Courtesy of Darwin Gray

SL: When did you get your first camera?
DG: I got my first camera about 3 years ago. I bought it in Tokyo as the prices were better. It was a Canon EOS Kiss X7.

Read next: Mayfair’s legendary member’s club, Annabel’s reopening

Sydney Lima: Do you find you learn a lot through working with other photographers?
Darwin Gray: I’m always watching what other photographers do, I find it interesting how people all work so differently. I’m always asking questions. I feel lucky to have the opportunity to learn from within the industry.

SL: Who’s your favourite photographer?
DG: Tom Mitchell is one of my favourite photographers because his work is so clean and he portrays natural beauty in a subtle way.

SL: Do you have any projects planned for the year?
DG: I’m working on a few things, but right now I’m concentrating on a documentary photo series whilst I’m in Korea.

instagram.com/darwingray

Peterson Kamwathi, Medical Establishment-from the Sitting Allowance series, 2009, Courtesy of The Heong Gallery

Robert Devereux, former partner of the Virgin empire, served as chairman of the board of Frieze, the Tate Africa Acquisitions Committee and as an advisor to 1:54 Contemporary African Art Fair. Kitty Harris caught up with the African contemporary art collector at The Heong Gallery at Downing College Cambridge for the exhibition of his Sina Jina collection: ‘Where the Heavens Meet the Earth’ to discuss the evolution of the art world, the importance of museums and his long African walk.

Kitty Harris: After completing your degree in History at Cambridge University you went into to publishing and then to work for your then to be future brother in law, Richard Branson. How did this journey lead you to the arts?
Robert Devereux: I got into the arts primarily because of my family. My mother, who particularly loved literature and my dad who had a great love of the visual arts and artefacts. We spent a lot of our summer holidays in Italy which involved going to museums and art galleries. Every year for my mother’s birthday and Christmas present, from the age at which I had pocket money, I brought a reproduction of a Tallantyre piece from Morpeth where we lived. She loved Bruegel’s work so our house was full of them; sadly, none of them were originals.

KH: And why did you start buying art?
RD: It’s so long ago now, I’m not sure if I can remember the answer. I started buying in the late 70s and early 80s when my wife had an art gallery. I don’t suppose I would have become a collector if I hadn’t started in order to support the gallery, maybe not. I started because Vanessa [Branson] had a gallery in Notting Hill. Interestingly, she had three or four African artists in her stable which was highly unusual and completely coincidental, because that was before my engagement in Africa.

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KH: What draws you to the art you do buy?
RD: Like all creative endeavours, an emotional response. Be it excitement, intrigue, interest. I wouldn’t buy a piece if it didn’t move the hairs on the back of my neck – not an intellectual approach I know, but then I begin to try to understand the works. I am fascinated by the thought process – why? Does it mean anything? And if so, is it purely pictorial, sculptural or is there some other significance?

KH: You’ve expressed an aversion to being called a “collector”, preferring the term buyer…
RD: A supporter. Often people say a Patron, I suppose there is nothing wrong with being a Patron but it does also have the connotation of patronage. I would like to think that both my collecting and my creation of the The African Arts Trust are for the support of the artists.

KH: How do you think the purchasing of art has changed since you began in the 70s and 80s?
RD: It’s changed out of all recognition. I was collecting mainly British art then and buying from London galleries, mainly Vanessa’s. The number of collectors, certainly of contemporary art, you could count on the fingers of one had. There were practically none of us. And now, it’s a huge industry and there are hundreds of collectors. There’s been an extraordinary snow balling effect. The creation of the Tate Modern, which has nothing to do with collectors, but it’s interesting that contemporary art has become a huge contemporary cultural phenomenon. The Tate Modern is one of the most visited institutions in the world and that’s amazing given what its content is.

Aida Muluneh, No. 7 from the 99 series, 2013. Courtesy of The Heong Gallery

KH: Museums seem to have become the attraction of cities…
RD: Yes. Take the Guggenheim in Bilbao, Spain. Now everybody knows that if you want to create social and economic regeneration you do it with an arts project, which is great. I had an interesting conversation with some older artists the other day who said, “When we left art school the thought of being a full time practising artist and earning our living from it never occurred to us. We went to teach or went to work in a museum.” And whilst they would have said it is definitely better now, there is something missing from that period when artists never had to think about selling work, or creating art for gallery deadlines or commercialising. Which is not to say that I think all artists do commercialise because I think most don’t. I think the commercial marketplace does have an effect on the art produced.

Lynette Yiadom Boakye, High Power, 2008, Courtesy of The Heong Gallery

KH: Do you think that the role of ultra-high net worth’s in purchasing art has changed the art world? Do you think there is a disconnect between creators and consumers? Or that perhaps artists create for consumers?
RD: I think we live in a very mixed ecology. I think all of the above. It happens in places where there is no real art market where an artist finds that they do something and the local tourists buy it and so they continue to do that because they know it will sell. And then there are artists who completely ignore that phenomena. One thing I find unattractive is art as a fashion and there is a strong element of that in the art market. Of art having become just a display of wealth, a sign of good taste (whatever that means) and a status symbol. I’m not going to name names but suddenly artists take off and it’s very clever artist manipulation by galleries and a few collectors.

KH: You served as Chairman of the board of Frieze, what do you think of the term ‘Fair Fatigue’ and what future do you see for art fairs?
RD: I think they will remain undoubtedly. I don’t say this to support Matthew Slotover and Amanda Sharp [the founders of Frieze]. There are as many art fairs as there are because they serve a valuable purpose. Are there too many of them? Maybe there are, maybe there aren’t. I think there will be ups and downs and peaks and troughs. I don’t have any doubt that art fairs will be a critical part of the future of the art world. They are wonderful and dreadful at the same time.

Nandipha Mntambo, Enchantment, 2012, Courtesy of The Heong Gallery

KH: You sold your 416 works of post-war British art in 2010 with Sotheby’s to start The African Art Trust. Was it hard to part with those works?
RD: I should probably say it was. Not at the time, it actually wasn’t. Partly because I got to the point where I needed to do something and inevitably as any collector does, you end up with work in storage which I think is most unfortunate. I had come up with the notion of The African Art Trust and the only way I could afford to fund it was to sell the works. I think that made it relatively simply because I think I felt I was doing it with clear and worthwhile purpose. Now, six years later, there are probably parts of that collection that I miss more now than I did then. I don’t really miss them. I miss them in the sense that I still think about them and they are in my imagination. That’s great because in a way I haven’t lost them.

Read next: The rebirth of Annabel’s, London’s most glamorous club

KH: The funds went to establish The African Arts Trust, a body that continues to fund grass roots organisations in expanding opportunities for artist. Why Africa? And what was your priority with this organisation?
RD: Africa because I had spent a lot of time there and I had been collecting African art for seven or eight years. I suppose I felt with a relatively modest sum of money, it was possible to make, hopefully, an impact there. Whereas if I’d have spent that amount of money in the UK it would have been a drop in the ocean. Also, I think the need there is much greater, which is not to pretend it’s not tough being an artist wherever you are; even in an extremely bright developed economy like ours. I do support The Showroom here, but in a much more modest way. I recognised there were lots of wonderful artists there who could do with a leg up, or some help or some support or some recognition.

Zanele Muholi, Miss D’vine II, 2007, Courtesy of The Heong Gallery

Kitty Harris: Tell us more about your Sina Jina Collection?
Robert Devereux: I’ve got a house in Lamu, an amazing Muslim community on the North coast of Kenya. And the house which I brought years and years ago, unusually had no name because it’s very old house and all of the houses in Lamu have a name bestowed upon by the families that own them. So I called the house ‘Sina Jina’ which means the house with no name. The collection never had a name until quite recently and for reasons that I can’t really remember I thought it better have a name. I prefer not to use my name if I possibly can. I called it ‘Sina Jina’ and there are probably 400 works; I’m not sure how many there are.

‘Where the Heavens Meet the Earth’ was a lovely title for the recent exhibition at The Heong Gallery, Downing College Cambridge and there is a certain spirituality of wonderful art – the earthly nature of the pieces connects them. The use of recycled materials: paper and wood. They are dis-proportionally from Eastern and Southern Africa because that’s where I spend most of my time, but there is lots of Western African art in there too; it’s all sub-Saharan. It doesn’t lose significance coming to London, it may change the context or meaning or just have a different significance. It’s medium agnostic. Photography is something I didn’t really collect when I was collecting British art, which is partly because I don’t think I’ve got a very good eye for photography. But there is quite a lot of photography in the collection, which I think partly reflects that there is a very strong practice of it in those countries.

KH: You’re not a gallery, how do you coordinate an international art collection?
RD: I don’t really! There’s not a plan. I do it myself. My girlfriend happens to be my art assistant as well. She does the archiving and tracks things as they move around the country. I haven’t got a curator and I think to me that would be a slightly weird thing to do, For me, the main enjoyment and what I get most out of it personally is exploring the artist’s world, meeting with them and engaging with them. I understand if you have big ambitions as a collector why you would have to do that. I would rather it subject to a random degree of subjectivity and was kept very personally.

Rotimi Fani Kayode, Grapes, 1989, Courtesy of ABP and The Heong Gallery

KH: What’s next for you?
RD: I went for a long African walk at the end of 2015/16. I walked the length of the African Rift Valley. I spent six and half months walking and the reason I mention it is that one of the reasons I did it was to clear my decks. So that I could come back and think about the last twenty years of my life (which are probably the last twenty active years of my life) and decide what I wanted to do. Before I went away I stopped collecting about six months before I left and haven’t really started again. I’ve bought one or two things. One of the things the walk made me think about, which I think about continuously anyway, is what am I doing as a collector? I’ve got a relatively small resource and how is it best used and applied? Is the best way of spending what I have got to collect? Or should I use that money in different ways? Anything I buy now goes straight into storage, which is ridiculous. I’ve got to the point in my life, I’m an old man, where I ‘m beginning to think where is it going to go eventually? In an ideal world, I would love to gift it to an institution, ideally to an African one. It would be wonderful if it could go back to Africa, but there’s nowhere obvious that I know of where it could go to. Then of course my children, in many way it’s as much theirs as it is mine. Quite what they would wish to do with I’m not sure. I’m trying not to start buying again until I’ve solved some of those issues.

KH: Which piece of art would you save in a fire?
RD: There’s always two ways of asking that question which is either: which is your favourite piece? Of which I don’t have one. Or to do what you did, which my cunning son asked. My answer: the one nearest to me. I really don’t have a favourite. I’m now trying to imagine myself in the fire and running out and it would be whatever I could realistically get out.

Image by Chris Tubbs

Elizabeth Taylor, Annabel’s 1985

To those of a certain net worth and vintage, the name Annabel’s has for decades been synonymous with the finest type of decadence. The nightclub in the heart of Mayfair was host to generations of bright young things, lascivious old things, the super-rich, Hollywood and music celebrities. Whether you were stopping off in London between homes in the Hamptons and St Tropez, or you were a Chelsea debutante interested in meeting the private jet-set, the canopy on Berkeley Square was where your dreams began.

In recent times, though, Annabel’s was overtaken by hipper venues of the new London crowd: the Arts Club for dining and schmoozing, 5 Hertford Street for drinking and clubbing at LouLou’s. A standalone nightclub seemed a bit 1983.

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Now, under the aegis of new owner Richard Caring (owner of The Ivy Collection of restaurants, as well as Scott’s on Mount Street and other private clubs including Harry’s Bar and George), the nightclub is being reborn, a few metres along from its original location, but accompanied by an extensive private member’s club space that will look after its well-to-do guests from early-breakfast to late-clubbing time.

Image by Chris Tubbs

Dubbed an “all day and all night experience”, the new Annabel’s will feature restaurants, including a year-round terrace, a spa, members’ lounges, a cigar fumoir, a bar in which to warm up your date, and a new, bigger, better nightclub in which to seal the deal – financial, romantic, or both.

The various areas are being designed and curated by a who’s who of uber-celebs in their fields including Mario Testino, Charlotte Tilbury and Martin Brudnizki. Former members will be invited to rejoin, but there will also be an influx of the young, beautiful crowd; all in a location that beats any other Mayfair members club into a corner.

Read next: LUX’s medical expert says eat salt, avoid sugar

Location and the place itself, are, of course, only part of the equation that makes up the world’s best members’ clubs: the members themselves are the most important draw, as Nick Jones has demonstrated with his global Soho House group (in which Caring is a shareholder) which caters to a totally different crowd.

Cigar Terrace. Image by Chris Stubbs

But, a few months before its grand reopening, Annabel’s has everything going for it, including a matchless brand, ready to be passed between generations. Watch this space, and, if you want to get onto the new membership, start sweeping through your contacts list and make some pleading calls with your best-connected friends. Or you could try them direct, at [email protected] – but be prepared for disappointment unless you have some well-connected backers.

annabels.co.uk

Darius Sanai

Launching our new online series, LUX medical columnist Dr Leyla Sanai discusses two medical books revealing why patients should be aware of the risks and benefits of treatments, and why sugar is our real enemy

Most people believe that there is little uncertainty in medicine. Evidence-based trials show doctors what works, and from there it’s a simple matter of either recommending X or not – where X could be a screening test on a healthy patient, a test on an ill patient, or a treatment. But it isn’t as simple as that, as Steven Hatch’s new book Snowstorm in a Blizzard (Atlantic Books, £14.99) shows.

In this lucidly written account, Dr Hatch, Assistant Professor of Medicine at the University of Massachusetts Medical School, reveals to the reader how to liaise with your doctors to ascertain if the benefit of the proposed procedure or treatment is worth the risk. Of course, the benefits and risks vary from individual to individual based on a whole host of factors such as age, gender, smoking history, family history, and many other variables.

One of the elegant examples Hatch talks us through is the value of routine screening for prostatic specific antigen (PSA), a blood test carried out to detect the presence of prostate cancer. In the years following the popularisation of this test in the early 1990s, the number of cases of men diagnosed with prostate cancer doubled compared with the incidence 15 years earlier. Yet the death rates remained almost the same.

This is because many men have prostate cancer that is never diagnosed and never causes them any harm. In one study, 40% of men who died had evidence of prostate cancer that had not been diagnosed and that had not contributed to their death. In the oldest age group, the incident was around 80%.

In fact, out of every 1000 men over fifty years old screened for PSA, only one life will be saved because of the diagnosis and treatment of prostate cancer as compared to 1000 men over 50 who are not screened. And yet, of 1000 men screened, more than 200 will be found to have an increased level of PSA. These men will all be referred for biopsy. Of the men biopsied, 90 will be diagnosed with prostate cancer. In comparison, in an unscreened group of 1000 men over fifty years old, 70 men will be diagnosed with prostate cancer, either because they present with symptoms or because of a chance finding of a hard prostate on rectal examination for some other reason.

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All of those diagnosed will be given the option of treatment for prostate cancer, which comprises one or more from the list of surgery, radiotherapy, and hormone therapy. But note that 20 more men have been diagnosed with prostate cancer in the PSA screened group then in the unscreened group. Which means that 20 more men in the screened group than the unscreened group will receive treatment for prostate cancer – a cancer that might never have come to light if they had not been screened, and might never have caused them any harm. So twenty men out of the 1000 screened will be put through all the risks of treatment of prostate cancer – a treatment that carries risks such as surgical blood loss, or the small risk of incontinence or impotence – and yet only one of them will have their life saved as a result of the screening picking up a cancer.

And yet – although the doctor in me recognises the distress, effort, side effects, and expense that 1000 patients have to be put through in order to save one extra life from prostatic cancer, the patient, or patient’s relative, in me, screams ‘go for it!’ to my husband and my brother. Because the truth is that although the abstract concept of 1000 patients having to be screened in order to save one extra life might seem excessive to the doctor, to that one patient, that screening test has been – well, life-saving. And this is why the vast majority of patients will choose screening for themselves and their loved ones even if the chance of personal gain is very small. Because what’s a bit of discomfort or even a serious side effect like anaemia or infection compared to the difference between life and death for yourself or someone you love? Only when the risks of screening become so serious as to potentially cause life threatening disease themselves do most patients baulk.

The answer to uncertainty in medicine is education, education, education. If the patient reads up about the risks and benefits of procedures, they can have discussions with their specialists. And of course, much depends on individual preference. One individual may be adamant that they want their PSA checked, even though screening only saves one life in a thousand compared to a nonscreened group. Another may prefer not to undergo the psychological distress of a test and discomfort/risks of a biopsy that, even if positive, may simply be diagnosing a cancer that would never have caused their death anyway. This excellent book does not try to dictate answers – it merely seeks to raise awareness that even with all the technological and pharmacological advances in medicine, the correct answer is not always black or white, but various shades of grey.

* * * * * *

The general public has long been chastised to lower their salt (sodium chloride) intake. Some of us forgo a sprinkle of it on food, and, as a result, eat bland and unseasoned meals. In The Salt Fix (Piaktus, £13.99), Dr James DiNicolantonio, a cardiovascular research scientist and doctor of pharmacy in Kansas City, Missouri, tells us that we have been demonising the wrong white crystal. Sugar is far worse for our health than salt. In fact, he explains to us that low salt diets actually cause all sorts of harmful physiological effects. They increase the heart rate, which puts more strain on the heart. They increase triglycerides, and increase insulin secretion, since insulin helps the kidneys to retain sodium. Insulin stimulates the laying down of fat, and it lowers blood sugar, leading to sugar cravings. In addition, when the body over-secretes insulin, cells can develop resistance to the effects of the hormone, paving the way for the development of type 2 diabetes mellitus, with its attendant risks of heart attack, stroke, and poor leg circulation, and problems in kidneys, eyes and nerves.

We are constantly told that salt raises blood pressure, but approximately 80% of people with a normal blood pressure are not sensitive to the blood pressure-raising effects of salt at all. Of those with borderline raised blood pressure, still 75% will not increase their blood pressure if they ingest salt. And even of those with full hypertension, 55% of them are totally immune to salt’s effect on the blood pressure. The author’s message is that in most people, eating normal levels of sodium is not harmful. In fact, studies suggest that eating between 3 and 4 g of sodium a day does not cause a problem in individuals whose kidneys are working properly, since any excess is excreted, and the high levels protect against the aforementioned risks of low salt diets.

Read next: A slower pace of life in the Nepalese Himalayas 

But national guidelines are slow to follow research. In fact, nutritional guidelines have consistently lagged so far behind research over the past few decades that sugar has had a free pass, despite the many trials showing its deleterious health effects. Risibly, as recent as 2000, US guidelines assured the public that sugar did not predispose to type 2 diabetes. And in the UK, it wasn’t until July 2015 until the government reduced the maximum percentage of daily calories that it recommended could be taken in by free sugars from 10% of total calories to 5%, following consultation with the Scientific Advisory Committee on Nutrition. In fact, the best percentage of free sugars to ingest if you have a sedentary lifestyle is 0%.

Why has it taken so long for public guidelines to match what research has shown for decades? Perhaps it’s because the sugar industry sponsors a lot of research. In 2013, a systematic review of studies published in PLOS Medicine showed that in those studies which were partially or wholly funded by the food industry, or had other similar conflicts of interest with it, 83.3% found no link between sugary drinks and obesity. By contrast, in those studies which have no conflict of interest with the food industry, 83.3% of them showed a definite connection between sugary drinks and obesity. It seems remarkable that even in the 21st-century, research can become befuddled by the influence of industry and politics.

While I would be more circumspect about recommending a dietary intake of salt as high as that which the author recommends, it certainly seems as if very low salt diets do more harm than good. And it is clear to see that it was sugar, not salt, that was the bogeyman at the banquet all along.

Dr Leyla Sanai MBChB MRCP(UK) FRCA(Lond)
Retired consultant anaesthetist

Joe Sitt, President and CEO of Thor Equities

Joseph Sitt, President and CEO of Thor Equities, sits atop a luxury property, retail and advisory empire that straddles the western hemisphere. His company owns and develops prime retail property throughout the US, as well as Latin America and Europe. The portfolio and development pipeline of the New York-based company, which he founded in 1986, is in excess of US $18bn.

He is also known as something of a luxury visionary: unlike many property companies, his firms (he also runs Thor Retail Advisors, a leading retail agent and consultant; and others) work closely with fashion and luxury brands to ‘place make’, transforming the areas they are based in. Like LUX, he also believes in mixing high luxury with creative emerging brands to create an atmosphere of discovery as well as indulgence. LUX Editor-in-Chief Darius Sanai caught up with Sitt on one of his whirlwind visits to London about the rise of LA, Mexico, and the future of luxury retail.

LUX: Tell me about the rise of LA as a destination.
Joe Sitt: There is physically no more room in San Francisco for office space and for homes, for rental buildings and retail. So, much of that industry is migrating to LA because it’s also on the coast and it’s got better weather. It’s also got more culture and things happening, so there is a lot of migration there, and a lot of wealth being created in LA. And you are getting a lot of second home owners (from the San Francisco area) who are buying in LA.

Between the businesses migrating their technology and the second home owners there, the revitalisation and reactivation in LA is tremendous. You can see also that new restaurants are incredibly successful. And it’s not just coming into LA proper. It’s also coming from down below for example into Santa Monica and Venice Beach. You have tech companies like Snapchat whose headquarters are based over there.

The other aspect of it is the creative industries in LA. Some real fashion is coming out of there for the first time in quite a while. Secondly, the movie industry. For the first time the movie making business is a real profitable business for film makers, writers – salaries are going up tremendously for all of them and for anybody affiliated with the industry.

The tech industry has so much wealth and power and it has the “funny money”, because their stock prices are so high; for example the FANGs – Facebook, Amazon, Netflix and Google – their stock prices are so high that they are throwing money very aggressively at almost anything. And that is crossing with the fact that the biggest thing that all of those tech companies need, and that they don’t have the ability to do within their tech shops, is actually content.

So now what you have is, if someone is making movies in LA you actually have a shot at a bidding war between Amazon, Netflix, etc. Even Snapchat have announced that they want to be buying and delivering content. That’s creating a really exciting time for the LA market for the people in all forms of the creative industry. A combination of wealth and creatives.

LUX: And in parallel the visual arts has revived there in the last 10 years.
Joe Sitt: Yes. For example, my friends at the [Helly] Nahmad gallery, who are the largest owners of Picassos in the world, now see how many people are coming from the West Coast to consume their products in New York. So they are opening their third outpost: they’ve got London, New York and are now looking to the West Coast. You’ve got [Larry] Gagosian who’s got his New York Gallery, he sees where the zip codes are where he’s shipping his product to. So while people are opening up shop in San Francisco, to get to the wealth proper a lot of them are really looking to the arts district in LA.

Read next: Japanese restaurant, Sake No Hana brings blossoms to Europe 

LUX: Do you see the emergence, despite Donald Trump, of LA and Mexico emerging as one entwined retail and luxury zone?
Joe Sitt: Very much so. I look at Mexico as a big new frontier in luxury fashion. A tremendous amount of wealth has been created in that country. In terms of those people who think that Donald Trump’s policies are going to hurt Mexico…I will throw you a curveball and show you how he’s actually getting the opposite result from what people think would happen and perhaps what he intended. I will give you two examples.

One, is in terms of the border in terms of trade as well as in in terms of immigration and how they actually play out. Sometimes when you shoot a bullet when it comes to policy you don’t know who the victim is going to be. The trade announcement forced a tremendous amount of devaluation in the Mexican Peso. The Peso went from around ten pesos to the dollar ten years ago to twenty two recently; so about half. The net result of doing that was making Mexico as a country and as an exporter more competitive.

As a result of making them more competitive from their currency it increased America’s trade deficit with Mexico dramatically over the last quarter. The opposite of what everyone expected to happen in that first quarter. The second thing that occurred with regard to the second policy, immigration, also had an unintended consequence; which is as a result of being tighter on the border for immigration, US companies have started to create tech centres in Mexico. In Guadalajara, and in Tijuana for those companies in San Diego who just want to be able to cross the border and travel 45 minutes to their foreign teams.

So now you’ve seen an incredible resurgence of business and activity in both Guadalajara and Tijuana in Mexico for the tech industry as a result of those tough policies. It’s a place so close to the United States and you can house all of the greatest foreign minds in the world.

The Ferragamo store on Masaryk street in Mexico City

LUX: Mexico has been seen as an outlier in terms of luxury retail.
Joe Sitt: It takes time for a market to react to some of things I’ve mentioned. It’s now waking up. I feel that the entire luxury market has been sleeping at the wheel regarding the Mexico opportunity. And so now they are just waking up to it. Those who are waking up to it are finding success in the market place. But it takes time for them to mobilise.

LUX: Can you tell us your vision for what you’re doing there, because it’s a long term play.
Joe Sitt: We are attacking it from multiple prongs. One of course is just bringing luxury retail there, and creating a platform for it to come to, for the first time. We sparked the revitalisation a street called Masaryk and in an area called Polanco, in the heart of Mexico City. In the old days it was an Upper East Side kind of marketplace that was starting to become abandoned and is now revitalised.

LUX: And is that now going to be the Rue St Honoré of Mexico?
Joe Sitt: Yes exactly right. You’re starting to see it. Hermès, Ferragamo, Gucci and Goyard just opened there. So you’ve got some great brands already.

LUX: Was this through you?
Joe Sitt: We were the spark that brought it all together.

Thom Sweeney SS17

LUX: Integrating investment in emerging fashion brands and developing districts seems pretty for a property company. What’s behind it?
Joe Sitt: Candidly, it’s more of a passion. Yes, there are financial benefits of being on the ground floor of some of the most exciting brands and investing with them or representing and aiding them. Yes, there will be financial reward, probably in years to come when a Thom Sweeney explodes and goes next level or a Drakes or an Edward Green or a Maison Bonnet. But for me, more than anything else, at this stage in my career I am looking for things that I enjoy personally. And I enjoy young and exciting luxury brands and helping them achieve their potential. I get my personal thrill vicariously through their success.

Read next: Labassa Wolfe on the contemporary tailoring experience

LUX: Is your ideal scenario that they grow up to be the next Moynat, Vuitton, Hermès?
Joe Sitt: In some cases yes, in some cases no. For some, Maison Bonnet, the eyeglasses company, we are going to help them make the move from Paris’s first and only little artisan shop to executing in London. It’s about growing the business but not necessarily overgrowth or creating a Goliath.

LUX: And is the long term that you are buying, building and selling them?
Joe Sitt: I have to be careful in terms of conflict so I can’t say which ones I invest in. Other than to say when I do make investments in them I am focused on very very long term. It’s not to buy and sell. It will go wherever the visionary wants to take it, who’s owning the business, will we ride with this vision. In terms of our advisory business, our goal for these companies is to help them reach whatever their potential is, or is meant to be. Some of them it’s meant to be a very large business, some of them it’s not. We do the same thing with tech related businesses. I mentioned Warby Parker [an eyewear company], we were with them from the start, opening all of their first locations. Helping them understand the challenges of physical retailing versus internet retailing.

LUX: You are a property person. But is retail moving online?
Joe Sitt: There will be challenges in terms of distribution for people to buy things online for many years to come. And buying direct is not a new invention. We had catalogue prior, it was just a different medium for doing it. Someone would get the catalogue to their house and then they would order by telephone; or later order through emaiI. I look at online as another modem to deliver a product to a consumer. When it comes to commodities, it’s easy enough push a button and buy it on the internet. But does the internet mean that Nike should not open up more stores? We’ve found the opposite. I worked with Nike in New York, myself and a partner, for the first flagship store in Soho on the corner of Spring Street and Broadway. They are doing two incredible flagships that are costing them mega millions of dollars to build. Why are they doing that in the year 2017 with all the talk of tech and internet sales? Because they realise for a brand, it works arm in arm. People want the experience of a brand. The same way people are talking about restaurants and experience and enjoying that aspect of it, it’s the same thing when it comes to a brand. I want to go to Nike and not just see pictures on the internet. I want to touch the product, I want to try it on I want to interact with it.

Maison Bonnet’s Palais Royal Salon in Paris. Image by JYLSC

LUX: You have done some transformative retail schemes over the years. What are the challenges when you have an area like this that has got great potential but you need to change things? Do you get resistance?
Joe Sitt: There is always resistance. I always say that the secret to knowing when a project is going to be great is the greater amount of resistance. We enjoy both. We like doing things in established high profile tourist destinations as well as cool emerging areas like Wynwood in Miami, Venice Beach in California, and all of these creative markets all over the world that we think need and deserve luxury exposure as well.

Read next: Luxury in the foothills of the Himalayas

LUX: Do you think that monolithic luxury malls as are opening in China and elsewhere, where everything is a luxury brand and nothing else, will change? Will people want more of a mix in there?
Joe Sitt: Yes. That’s boring. Even if it’s great luxury brands it’s not what the consumer wants. As a consumer it gets more and more sophisticated. You see that in their taste they want something that is more eclectic.

LUX: A bit of discovery?
Joe Sitt: Yes. It could be restaurant discoveries, specialty shops, boutiques, perfumeries, candle shops etc. Intermixed with the luxury brands and that’s what creates the most successful environment for a luxury brand.

LUX: What’s the most exciting area of luxury and fashion for you?
Joe Sitt: Menswear is so exciting, much more exciting than womenswear, still very much an untapped market, with brands we’ve referred to today, Thom Sweeney for example, in years to come that could explode. I think that food, F&B, restaurants etc. have tremendous potential. Look at a market like London, if you were here 15 years ago the restaurant scene was horrific. It’s come along light years. I think other markets are going to expand to a much greater degree.

Last, but certainly not least is destination. I think people are remaking what the word ‘resort’ is, as hospitality and a destination. I think people are stating to get really creative. People crave creative.

The Excelsior is a cathedral to modern tourism and business travel

Luxury hotels are not all about marble bathrooms and art in the corridors: without perfect service and functionality, a luxury hotel is not worth the title. Darius Sanai holds up Mandarin Oriental’s Hong Kong behemoth as a case study – technically, it’s not a luxury hotel, but the experience should be an example for all hoteliers on how it’s done.

The idea of staying at a Mandarin Oriental hotel conjures up a dreamy vision, a blend of eastern exoticism and richness of service. And this dream is generally an accurate predictor of what you’ll receive in the only luxury city hotel group that, for me, perfectly combines the style and individuality of a boutique private resort group with the functionality of a major luxury chain.

‘Functionality’ is probably not a word that appears in Mandarin’s, or any group’s staff manual, but it’s a key element of a top hotel and one that is overlooked too easily. I have stayed in boutique hotels whose bar staff don’t know what a cigar cutter is; design hotels where room service breakfast looks like something on a second-class train carriage; style hotels where the concierge forgets your restaurant reservation and today’s front office staff have no idea about the detailed conversation you had about your needs with yesterday’s front office staff. An adaptor for your European plug? Sorry, the guest who borrowed it last week didn’t bring ours back.

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I’m ok with having an orange sofa in the shape of a banana in my room; I’m delighted to find an oxygen machine and green juice in my minibar, it’s fine that the person showing me to my room is an easy-on-the-eye Instagram star, but when I travel, and I suspect I speak for a fair number of LUX readers here, what I need is functionality.

This is different to being able to process eccentric requests, or to having a fleet of Teslas to show your green credentials. Functionality is boring, and it makes the world go round. If I call on my way in from the airport and order dim sum in my room at precisely 6.30pm that night, it needs to be there; I don’t need to have to call at 6.45pm to be told, oh sorry, there’s no dim sum today, would you like anything else from the room service menu? The adaptor – already in the socket. Housekeeping needs to speak English and know the answer to a question about dry cleaning delicates without promising to call me back – I’m talking to you now, I don’t need to talk to you again. Room service should remember my breakfast order from yesterday so I don’t need ask all over again about gluten-free toast and no lemon in the water and do you have any sliced grapefruit, no, not juice, sliced actual grapefruit. The person who answers the ‘At Your Service’ function on the phone really does need to know everything about the hotel – it’s not at my service if you have to be a broker between me and the rest of the hotel.

Read next: Searching for serenity in the Nepalese Himalayas

Staff need, in general, to know not just about what you are asking them, but every element of the hotel, so the host in the French restaurant on Floor 2 is clued-in that you have a car for the airport at 9.30pm and the staff there already know to serve dinner in time, while the concierge has already had the bell boy pick up your bags (and return the adaptor to reception so they don’t add a charge to your bill).

Which brings me back to Mandarin Oriental hotels. All the ones I have stayed at, from Hong Kong to New York, score high marks in this kind of functionality. Not unusual – a minimum requirement for a luxury hotel, and one which is shared by competitors like Four Seasons and Ritz Carlton.

There is a hotel that appears in the Mandarin Oriental portfolio, though, that doesn’t bear the brand name. The Excelsior in Hong Kong is part of the group, but not; it’s just called The Excelsior, and doesn’t share the luxury status or accoutrements of its more illustrious sisters. It’s a good bit cheaper, as well.

A Deluxe Double Room at The Excelsior

I have just bid The Excelsior farewell for the last time. I had a three-year advisory contract with a Hong Kong-based client, whose company booked me into the Excelsior for all of my four-to-six-time-a-year stays. Having, on previous trips to Hong Kong, stayed at the Mandarin Oriental, its sister hotel the Landmark, and other luxury citadels like the Four Seasons and Upper House, I have found myself staying in The Excelsior for something like 15 times over the last three years, for nearly a week at a time; that’s more than 90 nights, enough to get to know a place, or get weary of it.

The sole sub-luxury hotel of my global itineraries for LUX, my luxury consultancy Quartet Consulting, and my other employer Condé Nast, the 848-room monolith, at the ‘wrong end’ of Hong Kong to the financial bustle of Central, with its plethora of groups from mainland China, should have stood out as a step down, a place to be endured, perhaps even complained about to my client. One colleague did complain: a creative director who travelled with me once took one look and instantly changed addresses to a boutique hotel, which turned out to have paper-thin walls and chaotic service, but which had Tom Dixon light fittings.

Read next: Fine artist and model, Orla Carolin on modelling’s need for greater equality 

The Excelsior is a cathedral to modern tourism and business travel. Thousands seem to flow through its two facades every day. Its rooms are homage to the era when hotel rooms weren’t really designed; the bathroom’s on your right (with a shower in the bath), the safe’s in the cupboard on your left, the desk is in front if you, and the bed’s over there. To walk into my room (2422, usually) after the 12 hour flight from London should have been to be hit with a wave of mundane gloom: my functional home for the next six days.

But I rather loved the Excelsior. My room, like most others (I never received special treatment there) looked out over the harbour to Kowloon, and past to the mountains in China, with that spectacular and unique mix of commerciality, romance, urban ugliness, urban beauty, noise, light and possibility that Hong Kong epitomises.

My flight would touch down at 5pm on a Sunday night, and, arriving at the hotel around 7, I would get changed (a shower in a bath is fine) and walk outside into the neon-lit streets. The crazy signs and lights of the Laforet stall, the crowds of shoppers at any hour, the shops on the Lockhart road selling Chinese roots and beauty products and barbecued chicken and technicolour drinks; these were an instant hit of Hong Kong, unlike anything you will receive in the sanitised central business area a mile or so away.

I would then walk back to hotel for dinner at Yee Tung Heen, the Cantonese restaurant on the second floor. A formal, sophisticated, old-fashioned place with white glove service and tablecloths and a vast menu of traditional Cantonese dishes, it is apparently a favourite place for a treat for local families – and appears absolutely nowhere on the fashionable tourism agenda. Bare sharing tables, fusion offerings, Cantonese cocktails – all are on offer elsewhere in Hong Kong, but Yee Tung Heen has extreme comfort, peace, an excellent wine list, and superb food. From the boiled peanuts which I dipped into the homemade XO sauce as a pre-starter, to the steamed garoupa with ginger and lime, to the citadel of Chinese mushrooms, this was the best food I had in three years of being shuttled around Michelin-starred restaurants in Hong Kong.

ToTT’s bar has the best views of Hong Kong from the roof terrace

After dinner, jet lagged, knowing this would be my only night “in” during my stay, I’d ask for the rest of the bottle of Riesling to meet me at the rooftop bar, ToTT’s. It inevitably got there before I did, a table would be waiting and I would sip a glass and marvel at the best view of Hong Kong from anywhere: 34th floor, with a precipitous view of both the city and Kowloon across the water, and the canyon of lights leading away through anonymous forests of blocks into the eastern distance.

“Room Service, Wendy speaking, how can I help you Mr Sanai, would you like the same as usual?” – how did Wendy remember, or care, among 848 rooms, with my several week period of absence each time, about the jug of American coffee, empty bowl with spoon, sliced apple and orange, and Welsh sparkling water (not the revolting San Pellegrino)? How did the entire concierge and front desk staff always know exactly when my limo for the return to the airport was booked? How did it all link up in such a vast hotel with its streams of bemused and voluble first-time tourists?

My theory, though I can’t be sure, is that the Excelsior is a kind of test-bed for Mandarin Oriental’s staff: if they can operate at peak standard at the Excelsior, they can do it anywhere.

It’s a rare anomaly of a hotel where the service is super-luxury and the rooms are barely above three-star (a recent refurbishment stripped them of their most attractive element, 1990s-retro oak panelling and desks that ran the length of the walls, replacing them with forgettable florals and whites). And I’ll take it that way anytime. The Excelsior may never be a LUX Hotel of the Month – not unless it is knocked down and rebuilt, as the old Intourist in Moscow gave way to the new Ritz Carlton – but every luxury hotelier should pay a visit to see how hotels ought to operate.

mandarinoriental.com/excelsior/

Dwarika’s Dhulikhel is designed like a village, nestled into the hillside overlooking the Himalayas

Since the devasting 2015 earthquake, Nepal has slowly been rebuilding itself as a travel destination. Until now, visitors tended to be Everest summiteers and those seeking other, though slightly less extreme, high altitude adventures, but slowly luxury is finding a place in the Himalayan foothills for travellers who seek to immerse themselves in mountain life without the hike. In the second part of her Himalayan journey, Digital Editor Millie Walton crosses the border from North East India to the remote Nepalese mountain retreat, Dwarika’s Dhulikhel in search of a slower pace of life.

Unsurprisingly, the Himalayas are difficult to navigate. It’s not until you’re actually eye to eye with the mountains that you can even begin to appreciate their enormity, not just in terms of height, but length too. The range stretches through Nepal, India, Bhutan, China and Pakistan with over fifty mountains exceeding 7,200 metres (including ten of the fourteen 8000 metre peaks). So making the journey from Darjeeling to Kathmandu isn’t impossible, but it’s not easy. Firstly there’s the drive to the border, which even in one of Glenburn Tea Estate‘s hardy Land Rovers is likely to make the strongest of stomachs queasy. The land border itself is a breeze, the Nepalese border control are easily the most friendly security officials I’ve ever met, but then there’s the flight. The weather systems over the mountains are unpredictable – on a good day it’s a bumpy ride – that said, the views of the world’s highest peaks rising majestically through the clouds makes it more than worth it.

Day beds dotted round the resort provide a perfect viewpoint of the Himalayas

Sitting in the Zero Gravity lounge at Dwarika’s Dhulikhel that’s all far behind us. We’re here for the sunset, which, we’ve been told, illuminates a view of panoramic peaks in soft pinks and golds. The lounge is a rectangular glass box with an alfresco roof top seating area, but the winds are blowing and it looks dangerously like rain so we’re nestled into one of the day beds, playing Bagh-Chal (Nepal’s national game, also known as tigers and goats), hoping that nature will change its mind. Of course, it doesn’t. The storm when it hits is fast and ferocious. Sheets of rain slice into the glass, forks of lightning stab the ground and the wind shakes the sides so violently, we almost expect it to shatter. It’s over in less than ten minutes. The clouds have been ripped apart leaving smudgy outlines of the giants that surround us. There’s no rosy tint, but even these sultry shadows are impressive.

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Homely touches in the suites

An hour’s drive outside of Kathmandu, Dhulikhel is an ancient Newari hillside town where tourists flock in the promise of panoramic views from Langtang Lirung in the east, through Dorje Lakpa to the huge bulk of Gauri Shankar and as far as Numbur. Of course, for the true thrill seekers, you can venture by foot into the depths of the Himalayas to a base camp or perhaps even to a peak, but if its luxury you’re after, you won’t find any beyond this point. Just outside of town, Dwarika’s sprawls up the side of a slope, hidden behind thick forest. Built in 2013, as the more subdued sister of the Dwarika’s hotel in the city, its a place of indulgent solitude, where guests are invited to embrace a slower pace of life in search of a more mindful and creative existence. There’s a daily schedule of complimentary activities led by resident gurus and artists including yoga, meditation, pottery and painting all held within little mud huts tucked into the dense foliage. Most beautiful is the Himalayan pink salt room, with walls and floors made from glistening rock crystals. It’s the purest form of salt on earth and is thought to be beneficial for the respiratory system – sitting on the arm chairs with a soundtrack of spiritual chanting, it feels almost otherworldly. Time within these walls loses all meaning.

The resort’s infinity pool

We begin our stay with an Ayurvedic consultation with an enthusiastic doctor who asks us to fill out a form to determine our body type. Most of the Ayurvedic teachings are based on common sense, and whilst sceptics may be turning away at this point, at the very least its an important reminder to prioritise health and mental wellbeing with early nights, mindful eating and exercise. Essentially it’s about learning or re-learning to listen to your body. In urban landscapes, every space is filled with sound (traffic, voices, building sites) – even when we get home, there’s rarely a moment of true silence – and so somewhere along the way, we’ve forgotten how to listen to our bodies. The mountain setting of Dwarika’s then isn’t just about pretty views, but about reconnecting to a more traditional way of living, a way of life which still exists within the Himalayan villages.

Read next: British model, Orla Carolin on her art collective NINE8

The Art Studio at Dwarika’s Dhulikhel. Image by James Houston

The resort takes its inspiration from that simplicity and whilst it is certainly luxurious, it is designed to blend seamlessly in with the natural surroundings. The suites are all bright and spacious with rustic furnishings, cream linens, smooth natural woods and pebble stoned bathroom floor. To be truly of nature, there probably shouldn’t be wifi access or televisions, but since most guests fill their days with chakra meditation or ink painting, there’s really very little opportunity to pull out a device. Our junior suite is centred around the views with floor to ceiling windows allowing the space to fill with natural light and a large terrace where we curl up on the daybed in the afternoons with a cup of herbal tea and homemade cookies, gazing out at the mountains. There are homely touches like a bowl of walnuts for cracking, a pot of honey as a natural sweetener for tea, homemade soaps and a ceramic pot of lemongrass bath salts on the edge of the tub. Each evening coloured cotton scarves are placed on the bedside table, to wear on the following day reflecting a certain energy along with a small silver dish of soaked almonds to promote peace of mind. It’s a world of indulgence, in which every detail has been carefully considered to create an atmosphere of complete calm, and it’s not long before we feel ourselves unraveling.

Read next: Summertime in Moscow at the Four Seasons

The Spa. Image by James Houston

The food adheres to Ayurvedic principles too; ingredients are locally sourced, and vegetables are plucked straight from Dwarika’s own organic farm. At Mako’s Zen, the Japanese restaurant, which offers set menus of six or eight courses, the cuisine is based on the diet that was originally followed by monks in training (it’s not nearly as intensive as it sounds) and dishes are all vegetarian and light on sodium, designed specifically for easy digestion. The vegetable tempura and maki are the highlights, and although we leave craving a little something more, it is refreshing to go to bed feeling light. For Nepalese traditional cuisine, Nature’s Flavours restaurant serves up by far the best momos (dumplings) I’ve ever tasted, and they look pretty too, dyed (naturally, of course) in bright colours.

Sunset over the mountains. Image by James Houston

On our last morning, before sunrise, we wander to the top of the hill – it’s quite a breathless climb for those unused to altitude (at 1,550metres it’s well above the UK’s highest peak) – to the meditation maze, a winding walled path of sculptures on the grass with hidden speakers playing a continuous track of OM chanting, which has an almost soporific effect as we drift from side to side. The air is fresh and light, not yet saturated with the heavy heat of the day, the grass is damp beneath our feet and the birds are only just beginning to sing. The Himalayas surround us, rising like giant waves into the ice blue sky. It’s a powerful image of stillness and stability, that’s more poignantly therapeutic than any level of luxury ever will be.

dwarikas-dhulikhel.com

Model and artist, Orla Carolin. Image by Mollie Dendle.

LUX contributing editor and Storm model, Sydney Lima continues her online exclusive series, interviewing her peers about modelling life and business.

Sydney Lima

THIS MONTH: Orla Carolin has been signed to London’s Storm Model agency for less than a year and has already been making waves on both the fashion and art circuits. Born and based in South-East London, the 18-year-old works as both a model and fine artist as one of the founding members of South London Art and Music Collective NINE8. So far, she has shot editorials for Wonderland, Pylot and graced the cover of cult magazine ‘Zodiac‘.

Sydney Lima: What first made you want to get into modelling?
Orla Carolin: I’d be lying if I said modelling was something I was pursuing when I first started – it more got sprung upon me – but i’m grateful it did!

SL: What do you enjoy about modelling?
OC: You just witness a lot from other people’s creative processes and by watching the way they present their artistic vision/identity, you learn a lot about your own.

SL: Is there anything you don’t like about modelling?
OC: Like any industry there’s definitely room for development. In modelling the representation of people of colour needs to be improved. When I first started modelling I was shocked in the realisation that whilst on the surface of the fashion world, progression has been made, the type of people who are in power to make changes remain the same – and a lot of them still don’t get it.

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SL: How did NINE8 collective form?
OC: NINE8 started out as a group of kids in their second year of college who were kind of drawn together because they had such strange but unifying ideals on art, music and life in general. We realised early on that – in the city specifically – it can be very hard as a young creative to get recognition when you don’t already have the connections or funding to do so. My partner (the founder) Lava , began to officially bring the group together to put on little DIY nights to showcase our artwork, bedroom cyphers in her flat and saved up to create little recording set ups so we could start making music together. It quickly developed to wider friendships and people online who reached out to us as a group because they had similar creative views on non-exclusiveness and positivity. Next thing we knew we had a board of people doing all kinds of things – photographers, artists, musicians, producers, film-makers – we were swapping creative currency making clothes, cover art, music for each other and Lava coined it to put it under the name “NINE8.”

Read next: Grayson Perry at the Serpentine Gallery, London

We really started striving to put the underground scene of DIY London artists on a platform to create and collaborate and the more we worked together the more our merging of styles came together to create this matching sound/aesthetic that we’re always trying to develop.

Constantly creating and pushing yourself to explore new ways of working is so important, and for me the collective encourages that.

Orla Carolin for Nabil Nayal

Sydney Lima: How would you describe your artistic style?
Orla Carolin: Dreamy, illustrative, lyrical, emotional. Poems have always been mixed into my sketchbooks and journals – in my works they become an aspect of an entire scape that usually alludes to an emotion or situation that I’ve attempted to physicalize through personal symbolism and colour. I recently finished my foundation course where I specialised in sculpture, I love creating scenes and scapes physically, too. I think my overall desire when making is to create objects and two dimensional images which in some bizarre and surreal way drag the viewer into my mind as though it were a physical space.

SL: What inspires you?
OC: Other people just totally doing their thing and going for it (whatever it may be), people being vocal about how they feel – regardless of who’s listening. Definitely people who are emotional responders like myself. I am encouraged, for example, by the way artist Louise Bourgeois’ portrays and physicalizes her emotions. However, an admiration like that is only a reminder of an element of what I want to achieve through my work, the execution of something like that has to come naturally in relation to my own experiences, emotions and desires. I’m inspired of the idea of developing this, the more I grow. It keeps me going.

Russia’s grandest hotel: The Four Seasons Moscow

Why should I go now?

Moscow in summer is vibrant, unexpected. In the warm, dry, continental sun, the city’s streets and parks have a Mediterranean vibe. The Four Seasons has the best location in the city bar none, next to the Kremlin; you can watch Russian tourists wander in and out of Red Square, eating their marozhonye (ice cream) from your balcony.

What’s the lowdown?

The Four Seasons is an edifice and a historical artefact. Those interested in Soviet history will be fascinated to know it was formerly the Hotel Moscow, a pet project of Joseph Stalin, opened in 1935 – the Lubyanka, headquarters of Stalin’s NKVD security police, is a five minute walk. Those interested in cocktails will know its façade from the labels of Stolichnaya vodka. Transformed after many years of work into a luxury hotel, it is now the grandest hotel in Russia.

The 25 metre indoor pool at Amnis Spa

Its 25 metre indoor pool, occupying the internal courtyard, with a glass roof, and surrounding ultra-luxurious spa, are the central symbols of the transformation. We balanced out the yin of exercising and spa purifying with the yang of hanging out in the Moscovsky bar on the ground floor, where immensely strong cocktails are served in an atmosphere more New Orleans than Moscow; the Moscovsky Mule is the hotel’s take on the classic Moscow Mule, and has a moreish kick.

The Moscovsky bar

Getting horizontal

Our suite (bedroom, living area by the bedroom, and living/reception room) had balconies facing out onto Red Square, with the Kremlin to the right – you don’t realise exactly how much of a castle the Kremlin is until you have a chance to examine it at night and wonder at what has happened there over the centuries. Furnishings were plush, light and contemporary, while thick carpets and swathes of marble in the bathrooms will ensure that traditional Four Seasons fans (and visiting dignitaries) are not upset. It’s worth upgrading to a room with a view of, and balcony onto, Red Square; one of the most momentuous city views in the world.

Some of the hotel’s Premier Rooms have balconies onto the Red Square

Nitpicking

This is a Four Seasons, so an element of grandeur and formality go with the deal, from the moment you walk into the immense lobby and stride down the marble corridors. Service is impressive at every touchpoint, as is security; the lobby areas are probably more suited to those with an entourage of bodyguards than a casual cabal.

Rates: From RUB 28,000 excluding breakfast (approx. USD $500/€400/£300)

Darius Sanai 

fourseasons.com/ru/moscow