A woman wearing a white dress standing in a garden
A woman wearing a white dress standing in a garden

French actress and singer Stéfi Celma

Paris-born actor and singer Stéfi Celma, who plays the ambitious receptionist in Call My Agent, on her cultural inspirations, social- media advice and dealing with racism

LUX: When did your passion for music start?
Stéfi Celma: Very early- it was as if I could sing before I could speak. My father found a little audio tape I made, so I have the proof.

LUX: What types of music have influenced you?
SC: I would say Latin music, Afromusic, French chansons and hip-hop. I also remember, as a child, discovering Lauryn Hill in Sister Act 2. her voice really affected me. Later, I listened over and over to her album, The Miseducation of Lauryn Hill.

LUX: What do you do to relax and disconnect?
SC: I have lived in Brussels for a few years and I’ve developed a real passion for antique collecting – the city has some real treasures. I love spending time at the flea market in Place du Jeu de Balle, just doing my thing. It is a good area to discover if you are passing through Brussels.

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LUX: What are your favourite restaurants and cafés in Paris to take a visitor?
SC: I’m not really up to date on good restaurants in Paris, but I do know a few in Brussels. If you pass by, I really like Le P’tit Chouia En +, a delicious Moroccan restaurant in rue de la Pacification. Certo Faim et Soif in rue Longue Vie is a quite simple restaurant, with original dishes that change every week. Boentje Café, in Place Colignon, offers beautiful fresh products, has a zero-waste approach and makes delicious little dishes.

LUX: What has been you favourite memory of playing Sofia in the TV comedy-drama Dix Pour Cent (Call My Agent)?
SC: The whole Dix Pour Cent adventure has been incredible – it’s been a real learning experience and I have met great people. But the scene that really comes to mind is the shooting of the theatre scene in episode 3 season 1. I perform the song Qui, which I also covered on my EP. It particularly touches me and is an important scene for my character.

A woman standing in a garden holding onto a wall with one arm and plants around her

Celma is best known for her role as Sofia in Dix pour cent (Call My Agent)

LUX: Have you ever experienced any racism or sexism in the industry?
SC: I have not experienced racism in the artistic world any more than I have elsewhere. I would even say that my experience has been better in the industry and that I have been encouraged to affirm my identity in the. projects I have been involved in. When I started, I did hear things like, “They are not looking for a black person for this role”, where colour was not a subject in the project. Luckily, that didn’t happen often.

LUX: What do you think of social media?
SC: For discovering artistic talent and for ease of communication it is brilliant. I also really like Facebook groups that help me to look for antiques and give a second life to things – I am very touched by that kind of approach. But I think social media takes up so much space in our lives and we have to know how to slow down and discipline ourselves. Easier said than done…

Read more: Alia Al-Senussi and Durjoy Rahman on art and cultural soft power

LUX: Are there musicians you would particularly like to work with?
SC: I have has the opportunity to be surrounded by great artists every day. I am blown away by the singer-songwriter Matthieu Chedid, who I have seen on stage many times, and the singer and actress Yael Naim. My favourite album at the moment is Hamza’s latest, Sincèrement. It is hard-hitting but also very free-form.

LUX: What advice would you give to young international actors?
SC: To try and stay true to themselves, whatever happens.

LUX: What were you doing before our interview this morning?
SC: I was looking after my baby daughter, who is eight months old.

This article first appeared in the Autumn/Winter 2023/24 issue of LUX

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A green Porsche parked on a countryside road
A green Porsche parked on a countryside road

The Porsche 718 Cayman GTS’ mid-engine layout offers distinct handling characteristics and balance compared to other GTS models

In the second of our series on Porsche, a company with a unique place in the automotive canon, we focus on two of its mid-market cars, the 718 Cayman GTS and 718 Boxster GTS, driver-focussed versions of the company’s acclaimed entry-level two seaters. We review them as part of our series, a tribute to a brand which is synonymous with German engineering and carries with it a geeky spirit that appeals to those who might collect mechanical watches

Part two Porsche 718 Cayman GTS and 718 Boxster GTS

The 718 Cayman is a closed-roof two seater car, which in the first few years of its existence was seen as the car you would buy if you couldn’t afford the more upmarket 911 model.

For the moment we got into this car, there was no doubt that we were in something quite special in its own right.

Unlike many fast cars of today, the 718 feels small and lightweight. The controls are also light, including the steering, and – wonderfully – the manual gearstick, which is lined, like much of the interior, in Alcantara, a suede-like material that imparts extra sportiness to the company’s GTS models.

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Porsche could have done what Ferrari did 15 years ago, and banished the manual gearbox to the history books. Automatics, controlled through paddles on the steering column, are much faster and more technologically advanced. No serious racing driver today drives a manual on a racetrack.

And yet many of the heroic drivers in F1 history and those who drive manual shift cars. A gearstick gives you an extra sense of connection and control which is lacking when you know the car can do the work for you, even if you are shifting manually with paddles.

The gearshift in the 718 is light and easy to negotiate. combined with a relatively light clutch pedal with a clear bite point, it means that even in town, this is a car that you don’t mind driving and changing the gears yourself.

Out on a country road, it becomes a delight, as you can balance the agile steering, the willing engine and the gearshift – not just in order to go fast (a Tesla could do that), to feel like you are with a dance partner – your car.

Black interiors of the gear shift and wheel inside a Porsche

The interior of the 718 models are fully geared towards enjoyment and comfort for the driver

The engine also has a serious part to play here. Most new cars, if they are not electric or hybrid, are turbocharged, which increases both power and efficiency. But turbo engines by nature tend lack that dramatic buildup of power and noise as the revs rise.

So combine a manual gearbox with a non-turbo charged engine along with the 718’s delicacy of handing, and you get a car that you can keep discovering with joy, because as a particular curve taken at 45 mph feels different to the same curve taken at 50 mph, or at 40 mph in a different gear, in terms of the responsiveness of the car. There is so much to discover.

The interior is comfortable, but also as compact as you might expect for a car seating only two. Plenty of room for you, but don’t expect to take five incidental bags into the cabin with you. On the plus side, it does have a boot (trunk) both in the front and the back of the car with a surprisingly positive amount of total space, as long as you are happy to travel with numerous small bags rather than a big suitcase.

Do we have any criticisms? Not really. Perhaps the only thing we felt is that Porsche’s engineering is too brilliant, and the engineers had restrained themselves from making this car the real monster it could be. It could be louder, faster, and have even more clarity and precision and sharpness – and danger – in his handling. But then it would be a racing version of the car, and that’s a different type of Porsche all together. Meanwhile, bravo Porsche for making what is close to the perfect sports car at a price that is a positive bargain.

A red Porsche parked on the side of a road next to a field

The Porsche Boxster 718 GTS is targeted towards enthusiasts and drivers seeking a pure and engaging sports car experience with the added enjoyment of open-top driving

Closely related to the 718 Cayman is the GTS edition of the Porsche Boxster. These open and closed cars share the same excellent engine, and the interiors are very similar although our Boxster had two crucial differences: automatic gear shift, in the form of Porsche’s PDK transmission, which allows you also to shift via paddles located on the steering column, and a roof that opens to turn the car into a convertible.

The Boxster is very lively and agile, but a touch, less sharp, a little more laid-back than its closed-roof sibling. That doesn’t mean it’s less fun, because it’s so easy to lower the roof, and enjoy the smells, sights and sounds of driving in the open air. Many convertibles these days, including those offered by Ferrari, feel semi enclosed due to the architecture of the car. This feels like a full, old-fashioned convertible. Delightful.

A birds eve view of a red convertible Porsche

The Boxster’s open-top design and mid-engine layout contribute to its unique driving dynamics and handling characteristics

You would, in fact, be perfectly justified in having both: the Boxster for when you want to have fun in good weather, and on roads were, you won’t be expecting the ultimate drive. And the 718 when you know the driving has huge potential.

Read more: Porsche 911 Carrera GTS Review

Both have a likeness, and a joy about them, feeling of supercity brought on by very sophisticated engineering that hides its light smartly. They are not cheap alternatives to a more expensive 911: they are different types of car, two seats only adventure. They are both a delight.

Find out more:

porsche.com/718-cayman-gts

porsche.com/718-boxster-gts

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A green convertible car from above with brown leather seats
A green convertible car from above with brown leather seats

The Mercedes AMG SL 43 is a technically innovative entry-level model of the newly developed roadster icon

For decades, owning a Mercedes-Benz SL has symbolised understated wealth and style. How does the newest model, with a racier intent than its more laid-back ancestors, stack up?

To the car enthusiasts, particularly those of a certain age, the idea of a Mercedes SL conjures up images of stylish luxurious open-top motoring with a sporty edge.

To those of even older vintages, it will conjure up images of something even more glamorous, as the original SL (the words then stood for Sport Light) was the car in which the British racing driver Stirling Moss won the dauntingly challenging Mille Miglia road race back in 1955.

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The model has evolved through many generations since then: in the 1960s, it turned into a car known as the “pagoda“, losing its sportiness but gaining even more beauty.

Its 1970s and 80s iteration was a luxury cruiser, still open topped, but more in use by the housewives of Beverly Hills than any racing driver.

New iterations came in the 90s (luxurious and advanced), and 2000s (with some high performance options available again).

Times change, we pondered while contemplating the newest SL. Our one was presented in bright yellow, its tube-like shape suggesting an extreme sportiness not hinted at since the very first iteration of the car. Inside, it’s snug and driver focused, although unlike the last generations, this car does also have two small back seats in which to cram your designer children, dogs or bags. (Although we think SL customers would send their children separately with the nanny in the Cayenne).

Brown leather interiors inside a car

The Mercedes-AMG SL 43 of the R 232 series is based on a completely new vehicle architecture developed by Mercedes-AMG. The new dimensional concept allows a 2+2 seating configuration for the first time since 1989

Our first zip down the the road confirmed that these racy intentions are carried through to the handling of the car itself: this is a sports car, or it wants to be anyway – in the way of the old-fashioned, longnosed, louche roadsters of the 20th century.

Then, a first trip down the highway confirmed that this car still does what the SL is supposed to do, excellently. It settles into a cruise, nose lifting ever so slightly when you accelerate, and feels like it would be delighted to take you all the way to Portofino in a single journey. In a way that slightly belies its rapid responses at low speeds, it is a very settled and comfortable grand tourer with more refinement than rival sporting cars, such as the Porsche 911 or various Aston Martins.

Read more: Porsche 911 Carrera GTS Review

Once you get to Portofino, Tuscany, or wherever your destination is, you will want to enjoy twisting down some country roads with the roof down. Here, the SL is always willing with its responsive steering, and always fun, although it doesn’t have the ultimate sports car balance or ability to deal with rapid changes of road surface and direction with the lightness of its rivals. It can also be a little bit bouncy on a bad road surface, a trade-off, perhaps, for that handling ability. It certainly feels like it has more sporting attitude than its predecessors.

Live with the car, and you get to understand its versatility: this is not an SL reinvented as a pure sports car (as that would see it lose its languid soul), it is a car that is happy with its heritage and has decided to become something of an athlete late in its life. Great fun.

Find out more: mercedes-amg.com/mercedes-amg-sl-43

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A dark green walkway to a bar overlooking the Freedom Tower in New York
A dark green walkway to a bar overlooking the Freedom Tower in New York

Nubeluz at the Ritz-Carlton New York, Nomad by Martin Brudnizki bring guests to the skies of New York

Martin Brudnizki and Bruno Moinard are two of the most celebrated names in interior architecture and design today. Here, Brudnizki takes LUX on a grand tour of Martin Brudnizki Design Studio’s most recent projects, while Moinard shares his design inspiration and creative process

Martin Brudnizki

Nubeluz at the Ritz-Carlton new York, Nomad
With Nubeluz located on the 50th floor of the Ritz-Carlton, our concept for its interior was to create a star in the New York sky. The project’s core is a central backlit onyx bar, and the surfaces are designed to reflect its lighting. A high-gloss lacquer ceiling, a marble floor, mirrored and onyx tables, plus six statement brass saucer chandeliers ensure that light bounces around the room in a magical way.

A man sitting with this hands to his chin at a bar

Martin Brudnizki

The colour scheme takes the project from lightbox to jewel box with a teal envelope to the walls, floor and ceiling, highlighting the coral seating in its luxurious mohair and flame stitch-patterned fabrics. We didn’t want to disrupt the views, so sheer teal-trimmed roman blinds hang across the windows. Our interior is a celebration of light and the city, referencing the classic hotel bar and saluting the views over an iconic skyline. It is modern and quintessentially New York.

nubeluzbyjose.com

Hôtel Barrière Fouquet’s New York
This is the illustrious French five-star hotel brand’s first foray into the US. In Paris it is located on the Champs-Élysées, so you might think its natural New York home would be the Upper East Side, but its team chose Tribeca – a decision I love. Our design challenge was to combine a distinctly Parisian ambience with a downtown location.

A brown and red bar with velvets and wood

Hôtel Barrièrre Fouquet’s New York by Martin Brudnizki brings the iconic Parisian hotel to Paris

We have brought together high glamour and elegance in a modern, timeless design, while leaning on the building’s loft-style architecture that blends seamlessly into the Tribeca landscape. Parisian design accents can be found in the rich materiality and colour palettes, while a carefully curated art collection, featuring many local artists, has a gritty urban appeal.

hotelsbarriere.com/en/collection-fouquets/new-york

Vesper Bar at The Dorchester, London
With this project, it was important to respect the past while bringing it to a new era. We were inspired by celebrated Roaring Twenties creatives, such as Cecil Beaton and Oliver Messel, who each had a history with The Dorchester.

Two green chairs next to a wooden table and wooden wall

Vesper Bar at the Dorchester by Martin Brudnizki

Their inspiration was integral to the spirit of this landmark bar. We also nodded to designer Syrie Maugham in our use of the mirrored columns. The hope is that the Vesper Bar inspires another Roaring Twenties.

dorchestercollection.com

Mother Wolf, LA
Situated off Sunset Boulevard, Mother Wolf is a playful Italian restaurant that has become a magnet for LA celebrities since its opening in 2022. Working with chef Evan Funke and Ten Five Hospitality, we created a homage to the glamour and elegance of Italian design.

A room with green plants and red leather furniture and mirrored walls

Mother Wolf, LA by Martin Brudnizki

References to architects Gio Ponti and Carlo Scarpa can be found in the dining chairs and central bar, while a trompe-l’oeil scene depicts lemons and pomegranates – an ode to Italy’s chic riviera. With its Murano-glass lighting, antique mirrors and Siena-marble table tops, every aspect of the restaurant’s interiors connects to the design heritage of Italy.

motherwolfla.com

Bruno Moinard

I am guided by lines, materials, light, energy and movement: whether in my work as an architect – in our projects around the world with Claire Bétaille for famous brands and high-profile clients – or in my more intimate work as a designer and painter.

A man standing amongst blue paintings in a studio

Bruno Moinard in his studio amongst his paintings

When I began to appreciate beautiful old cars – and I have three mythical English models – I saw their design is a distillation of everything that makes me vibrate in my creative process. I see these qualities in the bodywork, the leather, wood and chrome, the colours, the interplay between interior and exterior, the vision of the future in front of me and of the road travelled behind.

A red and white lobby with flowers hanging on pillars a large chandelier hanging over a rug

Interiors of Hôtel Plaza Athénee lobby, Paris by Bruno Moinard

So the challenge I set myself is to work with authenticity to evoke an emotion, to give a simple pleasure and generate unique sensations. This is luxury. It has nothing to do with glitz or so-called rarity.

A hallway with a marble floor and staircase

Hôtel du Marc lobby, Reims by Bruno Moinard

So in the cellars of Clos de Tart, a 1,000-year-old Burgundy vineyard with a Cistercian history, we built on the exceptional quality of the historic building, bringing light into the space, giving it life, to place it in harmony with the pure elegance of the wines.

A dark dining room with a chandelier hanging over the table

Hôtel du Marc dining room by Bruno Moinard

In “Résonance”, my recent exhibition in Paris, we made each painting an experiential space that I invited people to enter. My recent furniture collections also seek this sense, which has a direct impact on quality of life and on the welcoming nature of a space.

A living room with cream and grey furniture and a blue painting on the wall

One Monte-Carlo living room, Monaco by Bruno Moinard

My lights, furniture, carpets and objects bring freshness and softness with natural forms and materials. I am privileged to work in complementary fields and my inspiration in both is based on the same triptych of emotion, continuity and sustainability, while promoting the finest workmanship and expertise.

brunomoinardeditions.com

moinardbetaille.com

brunomoinardpeinture.com

This article first appeared in the Autumn/Winter 2023/24 issue of LUX

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A yellow Porsche on a country road with fields in the background
A yellow Porsche on a country road with fields in the background

The Porsche 911 GTS is a sportier addition to the model lineup

Porsche has a unique place in the automotive canon. Its history, racing and heritage, combined with a stream of some of the most evolving and precisely engineered cars, mean it is beloved by collectors. And in recent years, the company has made approachably-priced sports cars that are still a paragon of excitement for those who cannot or do not want to stretch to the more exotic offerings. It has also branched out into family cars, SUVs and the highly dynamic electric Taycan. In a tribute to a brand which is synonymous with German engineering and carries with it a geeky spirit that appeals to those who might collect mechanical watches, in this series we review some of the company’s most interesting contemporary offerings

The greatest consumer products are not those which undergo brilliant reinventions, but those which quietly evolve while remaining seemingly the same. A Birkin bag, a bottle of Château Latour, and an iPad are easily recognisable from their predecessors 40, 20 and 10 years ago.

The Porsche 911 stands at the pinnacle of this list when applied to the automotive world. It was a bit of an anomaly when it first emerged in the early 1960s, with is engine in the back, just in front of the bumper, and a bug eyed look. Porsche had plans to replace it with a completely different model, the 928, in the 1970s. Yet 20 years later, it was the 928 that disappeared into the history books, while the 911, continually refreshed every few years.

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The 911 itself has spawned many different variants: from race specials that only ever increase in value, to increasingly mainstream standard cars that can be driven by anyone and have no shortage of supply. Somewhere between these categories, of the ubiquitous “standard” 911 and the rare GT models, is the GTS.

The steering wheel and controls inside a Porsche 911 GTS

The Alcantara and cloth interiors of the 911 GTS

To drive, the GTS is traditionally somewhere between the company’s more exotic offerings and its mainstream sports cars. The logic behind the GTS is that you wouldn’t want to drive a collectors car every day on the school run or to go shopping. Though having driven the three first iterations of the GTS since it was first introduced in 2010, we can attest that if these excellent cars were made in limited quantities, rather than as a main manufacturer run, we have no doubt that this car would be bought over by collectors in years to come.

And here is the fourth iteration: the 992 GTS, 992 being the model designation for the latest variant of the 911.

Get into the latest 911 GTS after driving the next model down, the Carrera S, and the subtle, iterative, intriguing, differences, are almost immediately apparent. The interior has touches of Alcantara and cloth, and appears more bespoke, less factory made. As soon as you go round the first corner, the steering, good enough in the standard car, feels a little bit more taut, more sharp.

Read more: Porsche Reviews Series: 718 Cayman GTS and 718 Boxster GTS

The GTS is also more responsive around a series of corners, both in its engine response and the way it handles – and the way it sounds. It’s a bit faster and punchier, has more aural sensation, has a more muscular frame, or so it seems, while still being virtually as easy to drive as the standard models. The more specialist “GT” models, in comparison, take commitment and effort, ideal if you are racing around but much less fun in everyday reality for most of us.

Meanwhile the differences with the base cars are subtle, but just like the 911 evolution, many subtle differences add up to a big difference. We think the latest GTS is as compelling as any of its predecessors and its the 911 we would be buying if we were in the market now. You can even get it with manual transmission, unlike a Ferrari or a Lamborghini, if you are a truly committed driver; or as a convertible, unlike its more “collectible” sisters. Enjoy now while we are permitted.

Find out more: porsche.com/uk/models/911

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A coastline
green weeds at the bottom of the sea

Seaview Seagrass, Solent, Isle of Wight, UK, image by photographer and marine biologist Theo Vickers. © Theo Vickers

As sea levels rise due to global warming, there are tremendous challenges for the environment, coastal communities and global supply chains. Mark Rowe reports and discovers ideas, initiatives and infrastructure measures to help stem the tide

The sea is on the rise. All around the world, over the past 100 years, sea levels have risen by up to 25cm. And they are expected to rise by a further one metre in the next 80 years. The main driver of this increase is climate change, caused by humans pumping carbon dioxide and methane into the atmosphere.

This is driving sea-level rise through one reason everyone is aware of: melting ice bodies like glaciers and polar ice caps. What is less evident is that, even if all the permanent ice in the world were to melt, oceans would continue to rise as long as temperatures did, due to the physics of thermal expansion: warm water occupies more volume.

A woman wearing glasses and a shirt

Dr Joanne Williams

“We can’t reverse what has already happened,” says Dr Joanne Williams of the UK’s National Oceanography Centre. Science, in the form of thermal lags, means sea-level rises are inexorable. Water warms slowly, so, due to deep ocean heat uptake, sea levels will rise for centuries, whatever we do. “The heat is already in the ocean, the rises are locked in,” Williams continues. “But if we act now, it costs less in the long term and we can plan without having to rush. It’s easier to adapt.”

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In a 2021 report, “Coastlines in Crisis”, by Deutsche Bank Private Bank’s Markus Müller, ESG Chief Investment Officer, and Daniel Sacco, Investment Officer, the authors cautioned that “rising sea levels will put coastal populations and critical economic assets under increasing stress… substantial population displacement is not an unlikely scenario”. These are not abstract observations, and they highlight the challenges, including the human cost.

A man wearing a black top and blazer

Dr Philipp Rode

Most of the world’s populations live by water. Around one in 10 of us live less than 10 metres above sea level and 70 per cent of the world’s largest cities are in low-lying coastal areas. Roughly 40 per cent of the US population lives in coastal cities. So communities, as well as their infrastructure, trade and buildings, both residential and commercial, are all at risk, making the adoption of adaptation planning even more of a priority. As Dr Philipp Rode, Executive Director of LSE Cities, puts it, “How sub-Saharan African cities will cope is very unclear. But the story of people being forced to move because it is too risky and too expensive to live there any more is one we will hear more and more.”

“The ways in which people are vulnerable varies,” says Williams. She cites Bangladesh, where a one-metre rise would shrink the country by one-third. “Bangladeshi people are used to flooding, but in the future it will happen more often, go further upriver and affect more farmland.” Much of the farming hinterland near Williams’s own city, Liverpool, in the UK, is at coastal level. “Not a lot of people live there,” she says, “but that’s a lot of food production at risk.”

It is apparent, then, that threats from sea-level rise affect more even than coastal ecosystems and coastal communities. They affect everyone through global economics in terms of agriculture, infrastructure, real estate, tourism and global trade. And all this affects the Global North as well as the Global South, the Netherlands as well as the Maldives.

This is because critical national infrastructure, most obviously ports, but also electricity and nuclear power stations, electricity cables, and gas and sewage pipes, are often located on the coasts. Twelve of the biggest US airports are built on coastal areas, and nearly one-third of US GDP relied on the coastal economy, employing almost 55 million people in 2016. It is estimated that 20 per cent of global GDP could be threatened by coastal flooding by the end of the century. Our seas handle 90 per cent of global trade and that means if ports get battered, then cargo – from plastic toys to grain consignments – will get tangled up with knock-on effects.

Yellow and green weeds at the bottom of the sea

An Island’s Wild Seas, the Needles, Isle of Wight, UK, image by photographer and marine biologist Theo Vickers. © Theo Vickers

In the Global South, particularly, effects on sectors such as agriculture and tourism will be especially disruptive, as developing countries are most reliant on them. Saltwater inundation from flooding contaminates freshwater aquifers, making agriculture difficult, threatening food supply and making water no longer potable. That spells trouble for the people of Suriname, where almost three-quarters of the population lives five metres below sea level and most of its fertile agricultural land lies on the coastal plain. The Maldives’ highest point is just two metres above sea level, and, while it performs well compared to its small island peers, tourism accounts for almost one-third of its economy, making its people extremely vulnerable to rising sea-level shocks.

“Rising seas will not see cities sink slowly, millimetre by millimetre beneath the waves. Instead, changes are complex and abrupt,” says Rode. “Sea-level rises make other things worse. If you get a combination of flash floods, storm surges, high winds and high tides, the peak height of impacts will hit places harder. The higher sea levels are, the harder it is to get floodwater from heavy rain out of a city.”

Society does not have a great track record of awareness, let alone action, when small communities, or those from the Global South, are involved. Barranquilla is the fourth largest city in Colombia, with a population of 2.4 million. Located next to the Magdalena River, near the Caribbean Sea, it is a major port. But because of mismanagement and lack of investment in water infrastructure – it has no rainwater drainage systems, for example – it is highly vulnerable to floods and landslides. When the city floods, and it does, the roads turn into dangerous, fast- flowing rivers, sweeping away cars – and people. Sea-level rise is set to compound the situation, and while there is a push for legislation and some agreement to avoid disaster, there is no clear plan, resulting in stressed infrastructure, increased food shortages and poor, often Afro-Colombian communities, displaced to informal slums.

While the residents of Barranquilla still wait for change, the Hurricane and Storm Damage Risk Reduction System was created in New Orleans right after the devastation of Hurricane Katrina in 2005. It is the most costly flood-control system on earth and one of the biggest public-works projects in US history. Governments around the world are becoming increasingly conscious of the risks of sea-level rise and are progressively implementing adaptation measures. Shanghai’s authorities place a high value on these because, by 2050, the city is predicted to endure floods and rainfall 20 per cent higher than the global average. To lessen its vulnerability to rising sea levels, the city has built 520 kilometres of defensive seawalls. The OECD warns against complacency, however. Solutions are out there, but they will need to come hand in hand with the regulation and business climate that allows them to become viable commercially.

A man with dark curly short hair wearing glasses

Guy Michaels

Grey or technological solutions are often the direct go-to approach. London, which is estimated to have a water level increase of up to two metres in a low-emissions scenario, has its retractable barrier system, begun in 1974 and in operation since 1982. “And London can always get the Thames Barrier to do a bit more lifting,” says Guy Michaels, Associate Professor of Economics at the LSE’s Department of Economics. “In New York, which is 10 metres above sea level, you can think of ways to potentially close off the harbour.”

Tokyo created a spectacular solution in 2006. The G-Cans flood project is a huge cathedral-like underground cavern supported by 59 towering pillars. Permeable surfaces and a network of pipes divert floodwaters to a reservoir, before being slowly released to the Edo river. The price tag was more than US$2 billion and costs for defending infrastructure along other coastal cities are similarly eye-watering. “You can build defences higher, but there comes a point where you have to ask whether costs justify the outcomes,” says Williams. “When you get a one in 100-year flood, people build back. But what if that event happens again the next year, and then the year after that?”

This is where nature-based solutions come in. While many cities in advanced economies – those, remember, primarily responsible for climate change – have the means to protect themselves through technological solutions, the picture is different in the Global South, says Rode, where emphasis is more on adaptation. Barrier islands, vegetated dunes, coastal wetlands, mangrove forests and reefs are examples of natural barriers to protect shorelines.

They provide several advantages in addition to flood protection, including carbon sequestration, biodiversity restoration, fish nurseries, cultural heritage, recreational activities, tourism and spiritual benefits. Crucially for the Global South, they can be quickly adapted to the real pace of sea-level rise. Planting mangroves can lower wave heights by 71 per cent or more.

Mangroves originally lined tens of thousands of kilometres of coastlines around the world; previously mistakenly seen by humans as a type of coastal weed that could be destroyed for development, they are a good example of the upside potential of mitigation. Properly managed, mangroves store immense amounts of carbon and support a rich ecosystem of biodiversity, as well as protecting the developments on the coasts they have previously been cut from. They survive in a variety of climates and in brackish water, and planting mangroves can provide carbon credits.

Meanwhile, studies in the UK have shown how fringes of saltmarsh 40 metres wide can reduce wave height by nearly 20 per cent; at 80 metres, waves reduce to near zero. Nature-based solutions also give quick returns: estimates for annual flood-damage reduction from coral reefs exceed US$400 million for Cuba, Indonesia, Malaysia, Mexico and the Philippines alone.

Fresh, innovative approaches to protect urban areas include creating holistic “sponge cities”, which absorb heavier rainfall. After a cloudburst in 2011 inundated Copenhagen’s main trauma hospital and caused US$1.04 billion of damage, the Danish government redesigned infrastructure to make roads and pavements more permeable, while using nature-based solutions to plant grass and lay soil to better absorb rain.

Information-gathering to facilitate decision-making is key. Many countries use Lidar, a remote sensing method that pulsates laser light across coastal areas to measure elevation on the Earth’s surface. Australia’s web portal CoastAdapt provides mapping software, coastline morphological information, guidance for decision-making in coastal climate adaptation, and local and international case studies. France, meanwhile, is one country using a combination of a tech-based approach to monitor and evaluate its progress to date, and using that to recommend the elaboration of nature-based solutions and proposals to spatially reshape coastal areas.

A coastline

The artificial peninsula whose sand, as it erodes, protects the natural beaches near The Hague © Craig Corbett

The Netherlands, with 25 per cent of land below sea level and scarred by the North Sea flood of 1953, is widely considered the gold standard, with a creative approach combining monitoring, preparation, and grey- and nature- based engineering. “It did a lot of learning, a lot of thinking,” says Michaels. Anticipating sea-level rises of one metre by 2100, its measures have included the 2003 US$70 million reconstruction project to protect The Hague by raising a dyke 10 metres above the mean water level in Amsterdam and depositing 2.4 million cubic meters of dredged sand along Scheveningen Beach, which pushed the ocean back 50 metres from the shoreline.

Meanwhile, the necessary shift to a more sustainable economy offers the opportunity to restructure many firms and their manufacturing processes. Physical damage to facilities as a direct consequence of flood events or other weather extremes interrupt production and make it hard for employees to show up at work. It makes sense that forward-thinking companies across the globe are preparing for climate change by investing in resilient structures that can resist storms, severe winds and flooding.

Coastal cities may have to be radically redesigned or risk becoming “misshapen”, as Michaels puts it. “Inland cities have development that radiates from a central business district in all directions,” he says. “For coastal cities this is not an option. Rising sea levels will further distort the shape of coastal cities, leading to them becoming misshapen and significantly lengthening the costs of commuting to work.”

Michaels is struck by how stubborn communities can be. “Between 1990 and 2010 we saw development increase by 26 per cent in city blocks prone to sea-level rises on the US east and Gulf coasts,” he says. “That was alarming. We assumed people would avoid building there – the exact opposite happened.”

Read more: YKK America’s CEO Jim Reed on creating sustainable products for less 

Thumbing a nose at climate science only partly explains this, suggests Michaels. “If you assume people have good foresight but still do it, then they’re building in riskier locations because that’s where the jobs are. It’s a trade-off.” Is there a link to the politicisation of climate change? “People who are least aware of climate change can be the most willing to take on risk,” he says, citing politically sceptical Florida. “Miami is at ground zero. The coast is long, low-lying and very vulnerable. Yet there doesn’t seem to be a wide acceptance of what is happening and many locals regard most events as ‘nuisance’ flooding.”

What will trigger meaningful long- term, joined-up action? “Disasters recede into the background quite quickly,” says Michaels. “Maybe that changes if we get a Hurricane Sandy or a Katrina every year.” Williams is more optimistic. “I see people putting the effort in. It’s important not to say things are impossible, otherwise people ask why they or their government should bother taking any steps.” Rode reckons a more fundamental societal shift is required. “Free-riding, the good life as we know it, goes far beyond levels of consumerism that are healthy for the planet. Maybe we need to rediscover the mundane, then decide whether what’s really meaningful in life is that your local river is clean enough to swim in.”

Find out more:

deutschewealth.com/dam/deutschewealth/cio-

perspectives/cio-special-assets/coastlines-in-crisis

This article first appeared in the Deutsche Bank Supplement of the Autumn/Winter 2023/2024 issue of LUX magazine

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Reading time: 12 min
A man and woman standing next to each other in black and white

A man and woman standing next to each other in black and white

Princess Alia Al-Senussi is a key figure in the development of cultural relationships between the West and the Global South, and in the growth of the art scene in Saudi Arabia. In a conversation moderated by LUX’s Leaders and Philanthropists Editor, Samantha Welsh, Alia Al-Senussi speaks with South Asian philanthropist and collector Durjoy Rahman about significant art world debates and developments at the nexus of the developed and developing worlds

LUX: Durjoy, is the relationship between art in the Global South and the rest of the world changing?

Durjoy Rahman: I have been collecting for the over 25 years, and I have always been passionate about creativity, both personally and professionally. Living in Dhaka, I have realised there is a lot of untapped creativity that can probably be moulded and presented to a wider audience, to increase visibility, benefitting Bangladesh, South Asia and, in a bigger picture, the Global South.

These days there is a very fashionable phrase: “Your West is my East”. What one person calls “West” is actually somebody else’s “East”. It depends on the position you are coming from. I have asked many scholars, and no one has been able to give me a clear definition of what the “Global South” is. I think the geopolitical or geographical definition has different meanings and narratives and I expect plenty of discourse and redefinition during the next decade.

LUX: Alia, what has your global vision of the art world been informed by?

Alia Al-Senussi: I came to the art world from a very established position, in the heart of London, so my view has been shaped by the Western perspective, an institutional perspective, a gallery art world ecosystem perspective.

I was very lucky to enter the art world at a time when these perspectives were changing. Tate Modern had just opened and revolutionised the way that we put art in context. There is no longer the “South Asian gallery”, the “Middle Eastern gallery” or the “Asian gallery”.

 A woman wearing a black dress and orange head scarf standing next to a large rock in a desert

Alia Al-Senussi in AlUla, Saudi Arabia. She is a Senior Advisor, Arts, and Culture, to the Ministry of Culture in Riyadh

It was about showing art in conversation with itself, through the eyes of a subject, subject matter, or a generational perspective, rather than a geographical one. And, ever since, as much as I’m in the art world, my perspective on the art world is not as an art historian. It is very much about somebody looking at art, strategy and cultural strategy through the perspective of cultural diplomacy, soft power and how culture interacts with the art world ecosystem, but also very much with identities, governments and politics.

LUX: Alia, how have you noticed the art world changing in the Middle East?

AAS: My work in the Middle East started in 2007, when Art Dubai started. In the last five years, we’ve seen a rapid evolution in the Middle East, positive developments in Saudi Arabia, and Dubai becoming, in many ways, a platform for art from the Global South.

LUX: What do you think is the role of philanthropy in art. Does it engage, facilitate and shape discourse?

DR: This is what DBF is all about. From day one our approach has been very discursive, and we try to position our strategies in a very discursive manner.

For example, we work with photographers like Sunil Gupta, whose retrospective involved queer art. On the other side of the coin, we work with Wadham College of Oxford University, restoring the Holy Qurans, which we announced during the month of Ramadan.

My philosophy towards philanthropic activities and my involvement in the foundation is to challenge negative perceptions. It’s not only about Bangladesh, but the whole perception of South Asia, that I am trying to change through the activities that DBF undertakes. This is why we don’t only focus our activities in Southeast Asia but globally, be it in Europe or America.

A man wearing a white shirt and black vest standing next to a green sofa and a large yellow painting behind him

Durjoy Rahman is a philanthropist and collector based in Dhaka, Bangladesh

LUX: Alia, could you share with us your belief about the role of art and philanthropy?

AAS: I think it is at the very heart of changing perception. I have a deep belief in – as Durjoy said – the power of culture to change people’s minds and perceptions. And I’m not just talking about the West, I mean: it’s even neighbour to neighbour.

For example, we’ve seen black art in the United States transform people’s perceptions of BLM and people’s perceptions of segregationist history. You walk around the Tate galleries, and you see two paintings facing each other in the room about conflict and war. One is about the pogroms in Eastern Europe, and one is about the massacres at Sabra and Shatila [of Palestinian refugees by Christian militias during the Lebanese Civil War in 1982]. These speak to exactly the same universal horrors that many people experience but are from two very different conflicts and parts of the world.

LUX: What responsibility or soft power do you feel you have?

AAS: I feel a deep sense of personal and professional responsibility. In any projects that I get involved in or commit to, I pay a lot of attention to professionalism. I teach a lot and one of the questions I often get asked is, “How do I get involved in the art world? How do I start my career?” I say, “Get involved, show up.”

I think the idea of showing up is really important. Someone invites you to something, go. Someone expects you to be at something, be there. Someone expects you to respond to your emails, respond; and I think that idea of showing up really illustrates a commitment to people.

LUX: What is soft power for you, Durjoy? How can you and/or art bridge discourse?

DR: Everybody wants to understand art. Even Picasso said, “Everyone wants to understand art. Why not try to understand the songs of a bird?”

An artwork from the Bhumi project, supported by the Durjoy Bangladesh Foundation that was shown at the Kochi Biennale in India in 2022/23

When I invite people to an art show and they say that “Well, we don’t understand art.” I say, “There is nothing to understand. Just be there. Just try to comprehend that it is something interesting.” An example of how it’s not about soft power, but engagement, is what DBF did during the pandemic. All the major art institutions in South Asia closed for either health or commercial reasons. DBF decided to get involved with a community from north Bangladesh, which had hardly been hit by COVID-19. The project was called Bhumi and involved a minority group in the area who were craftspeople working in textiles. The project involved 260 people from 60 families, and it supported their daily livelihood. The project didn’t end with the pandemic, it was actually taken to last year’s Kochi Biennale to exhibit the works of the craftsmen and shows what is possible during difficult times.

This is an example of how art, philanthropy and art activism can show how culture can play an important role in times of crisis.

AAS: Just like Durjoy said, you see these very different and very nimble organisations involving themselves with communities and making a difference. The Islamic Biennale did exactly that. It was really revolutionary in the context of art in Saudi Arabia. The Islamic Arts Biennale was at the Hajj terminal in Jeddah, and offered locals to come to a place that they’d never entered because the Hajj terminal inherently is a place for Non-Saudis to come into Jeddah to then go on Hajj.

The locals could see this exceptional building, feel the power of Islam, but also of spirituality and of a community coming together. For people who were not Muslim, or had no connection to the Hajj, they saw objects and works of art in a contemporary and historical environment.

jewelled colourful prayer mats hanging on a wall

The Islamic Arts Biennale in Jeddah, 2023

Certain organisations have the power to be really nimble. They can profess their politics and support artists for art and culture. I think Delfina Foundation, for example, has been very clear about their support for artists from across a plethora of humanity and does it in a sophisticated, nuanced, and empathetic manner.

LUX: Where are you seeing Next Gen concerns amplified through art?

AAS: I think you see the next generation wanting to amplify diverse voices. There is this desire that art is geographically, ethnically, and sexually diverse so people can express the totality of who they are. There is a sense of activism to it, but there’s also a sense of declaration. I don’t always read into these institutional shows or works of art as activism. Sometimes an artist just wants to say, “This is who I am, and this is the art I make.” Artists are going to make art based on their life experiences.

LUX: Durjoy, where do you think the line is between declaration and activism?

DR: I think the majority of people want to see the origin of the artist, their background and their surroundings, reflected in the work they are producing. If I show a Bangladeshi artist and his or her work looks too different or has no context, sometimes curators even question it and say it doesn’t show their struggle or their originality. I’m not an art scholar or academic: I look at art based on whether I like it. But I think it’s important for an artist or a creative practitioner to show the origin, the struggle, and the history.

I think that we want to encourage artists going forwards to show their origin and their perception. An artist should be free to express their opinion, whether they are from Iraq, Lebanon or Africa. If they are willing to they should go ahead. DBF and I always try to work with artists who have enormous creative boundaries that they want to exhibit in front of their audience.

A man and woman sitting by a table with a laptop speaking into microphones

Al-Senussi in conversation with installation and media artist Chris Cheung during Art Basel in Hong Kong

LUX: To what extent do Next Gens feel obligated to witness and pivot or create change?

AAS: What I see more in my lecturing and my academic experiences, is that the next gen is very much about wanting to change the world and wanting to illustrate that. Through their careers and artwork, they want to be a part of the change in some way. It’s a little disheartening because there is this negative feeling about the future of the world, but at the same time there is a feeling that maybe we, collectively, can change the world.

You also see artists that are just reflecting on their own childhoods, like Farah Al Qasimi. She talks about her family home and the changes shifting in the UAE. It’s an activism, but then it’s also a reflection on the changing world.

LUX: Can art collaboration bring about changes of perception?

DR: Definitely. Art has a vital influence on culture towards current situations. I think art has a very influential way to foster international connections and collaborations and can question issues that are happening.

Read more: Maria Sukkar and Durjoy Rahman on supporting artists from your hometown

When I was in Paris at Asia Now art fair, I was talking to an artist from Israel and an artist from Jordan. When these two artists sat together, they realised where the problem lies. I didn’t see a division in their opinion, and I think this is an example of art bridging divides. Art can be used as a very strong tool to solve many of our problems including sustainability and global climate change.

AAS: I think art, at this time, is one of the only tools that we can look to, to unite us or to heal us. Unfortunately, it can also be used and utilised in other ways, but I have faith and hope that we will see a change.

Find out more:

durjoybangladesh.org

aliaalsenussi.com

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Reading time: 10 min
A white horse wearing a black cape with white flowers on it
A white horse wearing a black cape with white flowers on it

From the Durazzi Milano AW23 presentation

In the eighth part of our Italy art focus series, curated by Umberta Beretta, LUX speaks to Ilenia Durazzi who worked for major fashion brands including Margiela before establishing her luxury womenswear brand, Durazzi Milano, in Milan, championed by artist Maurizio Cattelan

LUX: What is your design philosophy?
Ilenia Durazzi: I design clothes with an architectural approach to the study of physical volumes in tailoring. I love minimal models with essential lines, made special by a detail, an accessory, in which I concentrate the most unconventional part of my creativity.

Follow LUX on Instagram: luxthemagazine

LUX: What cultural figures influence your work?
ID: My latest collection is dedicated to inspirational women from artists to scientists. For aesthetic inspiration, I would cite 1930s architecture, Meret Oppenheimer, Laurie Spiegel’s music. The common factor is non-conformism.

A woman with brown hair wearing a black turtleneck top

Ilenia Durazzi

LUX: Has Parisian style influenced your work?
ID: Paris is where I was trained and taught to express myself. It gave me the chance to create unique experiences in maisons that have written the story of fashion. But I was born in Urbino, a city of Medieval and Renaissance buildings. And when you are born in a region like this, it shapes how you see things. I believe our DNA recognises its roots, but changes with the world it inhabits.

LUX: How do the masculine and feminine interact in your brand?
ID: The essentiality of my creations derives from my experience of creating menswear and my fascination for men’s uniforms. Another point is the attention to function and detail, materials and craftsmanship in menswear. In women’s fashion these elements stay in the background. In my collections, they play a key role.

A woman wearing a tweed pink an red cot with red boots and holding a white bag

From the AW23 collection, by Durazzi Milano

LUX: Has Maurizio Cattelan
’s style influenced Durazzi Milano?
ID: Maurizio’s faith in my talents and support for the company have been fundamental. I couldn’t say Maurizio’s poetic approach has influenced its style, but his way of seeing reality is a source of inspiration. From artists we learn to look further.

Read more: Italy Art Focus: Edoardo Monti

LUX: Has your vision influenced Maurizio’s work?
ID: Maurizio and I are at each other’s perimeter, we have shared experiences and supported each other in our creative journeys. It would be naive to assume that this hadn’t had an impact.

A black cape for a horses back

From the AW23 presentation by Durazzi Milano

LUX: What changes will we see in Italian art and fashion in the next few years?
ID: I imagine a future that is fluid and democratic and so will be art and fashion. They already are. We have to be able to handle evolving situations, social, political and environmental. To go forward, the world has to go back, to produce less but better. It is the core of Durazzi Milano’s identity.

durazzimilano.com

This article comes from a section of a wider feature originally published in the Autumn/Winter 2023/24 issue of LUX

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Reading time: 2 min
A white car by a shed in a forest
A white car by a lake at sunset

The EQS SUV is a stylish creation by Mercedes chief designer Gorden Wagener, with none of the brashness of some rivals

Mercedes-Benz has made an electric luxury SUV quite unlike any other, and we love it

One of the fears of anyone who has been appreciative of high end automobiles the last years or decades is that electric cars, while having zero tailpipe emissions (although they still do have a carbon and environmental cost in their manufacture and sourcing of electricity) will lack an essential character.

When every car is electric, this argument goes, they will all essentially be more or less the same thing with a different brand attached – accentuated by the fact that electric vehicles also have advanced and highly developing technological interfaces, which are largely sourced from the same suppliers, like all digital technology.

We remember speaking about these matters with the legendary Mercedes-Benz designer, Gorden Wagener, a few years back; Gorden insisted that there would be as much differentiation in the design and feel of Mercedes’ electric vehicles as there has been in their conventional cars.

Follow LUX on Instagram: luxthemagazine

The EQS is a SUV – a type of car usually associated with massive emissions. It is fully electric though, so no worries on that front, at least during its daily use. It also achieves a remarkable goal of being very big SUV that does not look either aggressive or lumpen. It is smoothly designed and seems to shrink on the road, meeting no hateful looks from the resentful brigade.

The real revelation, though, is in the way it drives. Many SUVs set out to try to emulate the driving experience of the regular saloon/sedan cousins, something made almost impossible by their high centres of gravity and inherently massive weight – most of them weigh above two tonnes and a luxury SUV can weigh close to three tonnes.

This means that not only can they not drive like sports cars, but the passengers’ experience can also be compromised, with manufacturers left in a hard place between making the ride firm and unyielding (theoretically improving the dynamic qualities) or softer, but then allowing the forces of physics to dictate something that can be quite difficult to stomach in terms of a wallowing feel, particularly in association with the rapid but silent acceleration offered by electric cars.

A black steering wheel and dashboard of a car

The Mercedes-Benz ESQ SUV has a sophisticated and contemporary driver’s environment

That’s where the EQS is unique. Shoot off in the EQS (like all electric cars, it’s fast, although the 450 model we drove is not the fastest), and you have a delicious feeling of being cosseted – this is not a car aimed at setting record track lap times. Passengers felt the same. There is a luxuriant, old school refinement to being on the move in this car: objectively that is down to a ride that absorbs bumps and bits of broken road.

There is huge refinement in terms of what car companies call NVH (noise, vibration and harshness) but also a feeling that the engineers who made this car just really understand what makes a luxury car. Step out of the EQS into any other electric vehicle and you will notice the difference on this front.

So, a point of difference and a significant one given that this is a luxury car.

The technological interface is also sophisticated and easy to use, although this is much less of a differentiator these days. And while the design feels are highly up-to-date, we wonder if Mercedes has gone a little too far or making the interior feel “contemporary“ rather than “luxurious“. It’s as if the engineers did their bit brilliantly in the way the car rides and drives, but the interior designers were a little bit wary of making it look too traditional. Shame, because no major manufacturer does interior luxury like Mercedes. Functionality is for Teslas.

Read more: Porsche Reviews Series: 911 GTS

But the most important element of a car like this is the feeling of quality, and the way it rides and drives. The EQS has one of the best electric mileage ranges of any car – although range is a technology that will constantly improve – and it is a car that you wish to sit back and luxuriate in, whether as a driver at the helm (and it really does feel like a helm, in the best luxury Mercedes, type of way) or passenger. So bravo Mercedes for having the bravery to create something that is truly – we think – what do your clients will want. Next, just add a bit of Palace of Versailles – or even Schöbrunn, if you want to keep it Germanic – to the interior for that ultimate touch of baroque ‘n’ roll.

Find out more: mercedes-benz.co.uk/suv/eqs/

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Reading time: 4 min
photographs hanging on a wall with Helmut Newton in white a ona. red background witten on a wall and a projected image on an adjacent wall

photographs hanging on a wall with Helmut Newton in white a ona. red background witten on a wall and a projected image on an adjacent wall

A powerful show at one of Europe’s most spectacular philanthropic art foundations showcases the works of one of the 20th century’s most provocative image-makers

A complex comprising a converted industrial warehouse and storage silos in the far northwest of Spain may not seem, on first glance, like an obvious place for a major retrospective of one of the most glamorous photographers of the 20th century. Helmut Newton’s provocative, lustrous shoots, oozing on the edge of debauchery, were the mainstays of publications like Vogue and Harper’s Bazaar in their fin-de-siecle glory years, creating era-defining stories from the best that the great urban fashion houses of Paris and Milan could offer in association with the powerful media houses of New York and London – and of course featuring Newton’s unique relationship with the supermodels of the day. They were la cosmopolitan La Dolce Vita with a slice of outrage.

An old camera on a table

The MOP Foundation, which LUX visited to see the current “Helmut Newton Fact & Fiction” exhibition, is on the edge of the Spanish port city of A Coruna, in Galicia, at the top left corner of the Iberian Square, and feels a long way from the glamour of the traditional fashion world.

Follow LUX on Instagram: luxthemagazine

And yet appearances deceive: the MOP is the creation of Marta Ortega Perez, of the Inditex Spanish fashion dynasty that owns Zara; a powerful effort to place their home city on the global cultural map, it is in a location whose drama and own cultural history would have enormous appeal to Newton himself, one feels.

Black and white photos hung on a wall lit up in a dark room

The exhibition itself shows a breadth to Newton’s works that some may have missed: alongside iconic fashion images are portraits of David Bowie, Charlotte Rampling and Margaret Thatcher, among many others. Newton’s works always have power: the power to shock, in some cases, and to provoke, in others, and the power of sheer visual brilliance, in others.

Read more: If Only These Artworks Could Talk

All are very much on show here. Newton’s works are also very much of their time – a man depicting women and their power in an era of liberation that sometimes now seems at risk, and of course we now live in a post-supermodel, post-celebrity fashion photographer era.

An exhibition room with photographs on the walls and objects in a glass box

The MOP specialises in photography and their work with the Helmut Newton Foundation in bringing this – the third show in the foundation’s history – to life is a fitting tribute to an art form that is sometimes at risk of being demeaned by a billion smartphones.

Helmut Newton, Fact & Fiction, MOP Foundation, is available to view until 1st May 2024

themopfoundation.org

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