Adrian Bridge, opened Porto’s Cultural District, WOW, in 2020

Starting his career in the British Cavalry Regiment, Adrian Bridge moved to Portugal in 1994 and is now CEO of The Fladgate Partnership, which produces Taylor, Fonseca, Fonseca-Guimaraens, and Croft Ports. Here, Bridge speaks to LUX’s Leaders and Philanthropists Editor, Samantha Welsh about being a driving force behind wine tourism in Porto and developing the city’s new Cultural District WOW

Adrian Bridge

LUX: What do you think your training at Sandhurst taught you?
Adrian Bridge: The military teaches a great deal about leadership and confidence. You also learn to make decisions based on the available information, no matter how imperfect. However, in planning action it is in the details where success lies. That requires breaking down a problem to its parts and thinking through all of the details. I believe that all business is about the detail and that is where success lies.

LUX: How would you say this has influenced your dynamic style of leadership?
AB: The moto of Sandhurst is ‘Serve to Lead’ and I strongly believe in leading from the front. This creates a company culture where everything should be possible. I do not ask people to do things that I would not do myself. I think that this allows us to push forward, to take risks, to do things that others might not attempt.

Angel’s Share is the name given for evaporation process that takes place when wine is ageing in barrels. It is also the name of the WOW wine bar

LUX: Why is the house so good at innovating?
AB: To me, innovation is all about pushing boundaries. To remain at the top, you simply can’t sit still. You have to continuously question, push and evolve or someone will overtake you.

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Established in 1692, we are one of the oldest companies in the world simply because we don’t sit still. We are continuously expanding and innovating to appeal to both new and existing audiences. We have a reputation for quality and excellence that has been built up over time and continues to be sustained through the generations.

One of our best examples of innovation has to be the creation of Croft Pink; the first ever Rosé Port. We launched this product in 2008 with the goal to introduce Port wine to a younger generation. In 2011 we continued to expand this concept and launched a canned “ready to drink”- Rosé tonic.

The Fladgate Partnership produces Taylor, Fonseca, Fonseca-Guimaraens, and Croft Ports

LUX: Oporto is already a UNESCO World Heritage City, so what was your vision for WOW?
AB: Porto is a beautiful city full of history, charm and culture – all of great significance to Portugal’s identity. The vision of WOW was to bring a totally new set of cultural concepts to Porto and in this way offer quality content to the region.

We wanted this to be a game-changing space for both locals and travellers that really celebrates the culture, gastronomy, history and industries of Portugal. WOW is as educational as it is fun. To achieve this, we needed to make sure this was a dynamic district that featured regular exhibitions, unique events and seasonal experiences.

The District is over 55,000sqm and includes 8 museums and experiences and 11 restaurants and bars

LUX: What does an immersive experience offer that can complement the traditional vineyard visit?
AB: One of the reasons WOW originally came to be was in response to the booming number of visitors coming to Porto – demand that we helped to create by building The Yeatman – and the lack of experiences that Porto had to offer. To appeal to this market, we continuously try to ensure that there is something new for people to do and see in the district. Technology really allows us to engage with guests in a more interesting and meaningful way.

After the traditional vineyard visit, I would definitely suggest spending a day at WOW. It’s a good idea to choose one or two museums, do a workshop at The Wine School or at The Chocolate Story – the chocolate museum, enjoy a typical dish in one of our restaurants, appreciate the sunset in our Angel’s Share bar while drinking a Port Tonic and stay to be amused by the video mapping in our main square.

The Chocolate Story Museum

LUX: What is a sustainable vineyard model and how are you working to secure the future of viticulture?
AB: We are committed to protecting the environment and the future of our vineyards and the Douro Valley where our family has produced Port wine for centuries.

Our sustainable model incorporates a number of techniques and strategies which work together to create a balanced, diversified and sustainable vineyard environment. The basis of the model is the construction of narrow terraces each of which supports only one row of vines.

The view from Angel Share’s Wine Bar

This model was awarded the prestigious BES Biodiversity Prize in 2009, which recognises achievement in the fields of conservation and environmental sustainability.

In order to encourage industry change on a global level we established the Porto Protocol – the wine industry’s climate action network. Since our first summit in 2018, we have brought together more than 230 wine and wine adjacent companies from 22 countries to share solutions to combat climate change in the wine industry.

LUX: This year you have opened a new museum with a ground-breaking exhibition from TATE at the Atkinson Museum, what was the strategy behind that?
AB: The vision of WOW is to bring a totally new set of cultural concepts to Porto. The new exhibitions, especially the Atkinson Museum, reinforce this destination as a “must visit” hub for international travellers.

At the centre of WOW is the Atkinson Museum. Originally built in 1760, we have meticulously restored and modernised the space to meet international museum standards and attract exhibitions from the international art pool.

Adrian Bridge has a private collection of 2,000 vessels and glasses which tell the story of  the evolution of drinking vessels from earliest civilisations to the present day with some of the collection dates back to 7,000BC

Our most recent exhibition, The Dynamic Eye was produced by the TATE Collection and featured over 100 works from 63 artists – this was the largest number of works travelling from TATE to Portugal. This is an amazing example of the quality of major exhibitions we are bringing to Gaia.

The idea is to bring new and different major international exhibitions, such as The Dynamic Eye, every year.

Read more: Italy Art Focus: Patrizia Sandretto Re Rebaudengo

LUX: How can cultural philanthropy shine a light on the house values?
AB: As a family business, we are built on a set of strong shared values. We are continuously seeking opportunities that align with our core values. At the moment, one of my key priorities is sustainability in the wine industry and coming up with new ways to create new industry practices.

Porto Region Across the Ages Museum

LUX: What would you like to be remembered for?
AB: When I came to live in Porto in 1994, I came to into a Port Wine Trade that was very traditional. Our company helped to consolidate that industry and lead it forward, not least with the innovation of various new styles of Porto. This was an achievement and in doing this I hope that I will be remembered for helping to enhance one of the greatest wines and wine regions in the world. This also includes putting Porto on the map as a destination and through that work we have helped to stimulate the development of the town and create jobs and wealth. However, I will probably just be remembered for altering the city centre through the construction of The Yeatman and WOW.

Find out more: fladgatepartnership.com

A view of the Hotel Metropole’s grand exterior

In the heart of Monaco is a grand yet intimate hotel that offers fantastic dining, a world-class indoor/outdoor pool, one of the best spas in Europe and a mystique that makes it even more than the sum of its parts. Darius Sanai checks in

The arrival at a great hotel is a key part of its story. The Metropole is situated on the Casino Square of Monte-Carlo, one of the most celebrated public destinations in the (luxury) world. And yet your arrival is refreshingly discreet. Your car turns into a driveway, lined with supercars, away from the public gaze. You are ushered into the lobby as if arriving at a grand private home. The lobby itself is a visual feast, but a discreet one: no overbright lights and high ceilinged grandeur, but a dramatic floral display, tapestries on the walls and intriguingly lit corners and a segue into a bar area to the right. This is a place for insiders – those who really know Monaco.

The hotel lobby’s floral displays change according to the season

Our room, a Prestige Suite, was lavish and contemporary, a hard act to get quite right. Chandeliers and rich drapes, pale furnishings and walls, blonde wood loungers, floor-to-ceiling windows. A place of light, comfort and silence in a town that can sometimes be very hectic.

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The Metropole is famous for its food, and on the first evening we had a highly memorable meal, not at one of its celebrated restaurants but in the cosy heart of the bar, off the lobby. This is where Monaco residents go for casual dining. It’s comfort food, Monaco-style: a fabulous gazpacho, delicate artichoke with parmigiano, and a brilliant summation of Mediterranean cuisine: minestrone with monkfish, black beans and guianciale. Sublime yet simple.

The glamorous Hotel Metropole Bar was designed by architect and interior designer Jacques Garcia

The bar is a place to see friends as they swoosh back and forth to the lobby and the restaurants beyond: so we chose an excellent Pink Kiss, the house cocktail, gin-based, refreshing and balanced, to toast them.

The hotel recently opened its gastronomic restaurant, Les Ambassadeurs, by chef Christophe Cussac, who has overseen the food and beverage option at the hotel for almost two decades.

For LUX, though, the Metropole’s culinary piece de resistance is Yoshi, a small but exquisite Japanese restaurant situated in the courtyard, with a flower garden outside – a great indulgence considering the price of real estate here. The lacquered chicken – a delicious dish somewhere between teriyaki and yakitori – was memorable, the grilled black cod fleshy and fulsome with miso, and the miso soup refreshingly umami.

The Obento menu at the hotel’s Michelin Star restaurant Yoshi offers a light refreshing lunch option

Beyond the rooms and the cuisine is the spa, the hotel trying its hardest to ensure you never have to go anywhere in Monaco outside its domain. A wander down a corridor leads to a big terraced pool area, with views across town, a health food restaurant attached (with requisite, impossibly perfect men and women perched at the bar). The service at the pool is magnificent, intuitive and thorough without being overbearing. The pool miraculously turns into an indoor pool in winter, the walls of its pavilion swathed in Karl Lagerfeld frescoes.

Read more: Badrutt’s Palace St Moritz, Review

Just downstairs from the pool, we were wafted into the transformational world of the Bastien Gonzalez ‘Pedi:Mani:Cure’. If you ever wondered why women in Monaco have hands that look 20 years younger than they are, you now know the answer, although seeing a teenage girl emerging from the spa after us did beg the question of whether her hands disappeared altogether into a pre-natal state.

Designed by Karl Lagerfield, the ODYSSEY installation and heated pool is covered throughout the winter and al fresco during the rest of the year

But we digress. More than the magnificent hardware, any memory of the Metropole is dictated by the even more magnificent service. Not a given, even in this part of the world, it gives this uber-chic grand hotel in one of the world’s most iconic destinations the feel of a fantastic, extensive private home – albeit one with some of the world’s best chefs cooking for you, and a butler who can rustle up a fantastic club sandwich and cocktail if you just feel like chilling with your house guests in the drawing room. The Metropole is an absolute LUX favourite.

Find out more: metropole.com

Cooper Lake, Alaska. The creek draining the lake is coloured red by tannins from the surrounding vegetation. The 30 x 30 initiative to protect such sites is supported by The Nature Conservancy via the US government’s America the Beautiful initiative © Stuart Chape/TNC Photo Contest 2021

The oceans have an increasing potential to provide food for a global population. The challenge is how to do so without harming the planet or its people. Chris Stokel-Walker discovers ideas, organisations and investors helping aquaculture towards a sustainable future

The ocean is an essential pillar of planetary life, sustaining and feeding billions worldwide. Quite aside from its ability to capture and sequester harmful emissions, our planet’s waters are a major driver of keeping us alive – for drink and for food. Three billion of us depend on wild-caught and farmed seafood as a primary source of protein – which makes it vital that the ocean is kept as a bountiful natural resource.

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Aquaculture is the breeding and harvesting in water of fish, shellfish and other marine life. It is underwater farming, in short, and it is crucial to humankind. “Aquaculture is an essential food source, especially in our changing climate,” says Danielle Blacklock, Director of the Office of Aquaculture at the United States’s National Oceanic and Atmospheric Administration (NOAA). “Globally, aquaculture supplies more than 50 per cent of all seafood produced for people to eat – a percentage that will keep rising. And expanding domestic aquaculture presents important opportunities to bolster climate– smart and resilient food systems.”

Making sure those food systems are resilient and impervious to climate issues is important – because the population keeps growing. “We must come together and problem- solve how to feed people within the sustainable limitations of our planet,” continues Blacklock. “Within that frame, aquaculture becomes a leading method for ensuring nutritious protein is available for families today and in the future.”

Seafood is incredibly nutritious. It is full of vitamins and minerals that can help promote healthy growth, with large volumes of protein, vitamins D and B12, and omega-3 fatty acids. Promoting the cultivation of seafood is certainly vital, but that cultivation needs to be done in the right way. Globally, humans’ appetite for seafood and fish has had negative impacts on the marine environment. So aquaculture needs to be practised sustainably from top to bottom. This includes looking at the types of feed used, tackling waste and making production methods more sustainable.

Karen Sack

This is a particularly urgent challenge when you consider that aquaculture is as big as the global beef industry. “We’ve been fishing out our oceans on an industrial scale since the end of the Second World War,” says Karen Sack, Executive Director of the Ocean Risk and Resilience Action Alliance (ORRAA), which brings together different stakeholders worldwide to promote a sustainable and equitable blue economy. In the course of the past decade or so, says Sack, the proportion of our seafood farmed from aquaculture has outstripped that of wild-caught fish. “Part of that is because of industrial overfishing, which includes the wasteful and damaging discards that result from this,” she explains. “Part of it is because of the development and operation of agricultural techniques that have been pushed into the ocean and coastal space.”

Robert Jones

The latter can be a good thing – if done well. In terms of emissions and water use, the resource intensity of farming the oceans is more efficient than producing animal protein on land for human consumption. “When we look at the global challenge to 2050, we need to produce more food with fewer resources, and aquaculture offers that opportunity,” says Robert Jones, Global Lead for The Nature Conservancy’s Aquaculture Program. The problem is that, historically, the demand for more food more quickly has meant that industry has built many aquaculture projects to produce as much seafood as possible in as small a space and quick a time as possible – and damn the consequences. It’s a problem that’s out of sight, out of mind for many: 90 per cent of aquaculture farming occurs within Asia, meaning that many consumers do not see the harmful impact that intensive, industrial farming has on the environment.

Take, for instance, the early development in the 1950s and beyond of what the industry calls “carnivorous fin fish” – or what most of us would call salmon, tuna and other big fish that feed on other fish. That and shrimp farming was industrialised at scale, without considering the impact on broader marine life. Shrimp farming can be hugely destructive to coastal ecosystems, while any farmed-fish development can result in pollution and the overuse of antibiotics to try to prevent disease within stocks, causing wider harm.

Wetlands at Valles Caldera National Preserve. New Mexico’s Rio Grande and its tributaries supply water to more than half of New Mexico’s population. To maintain the clean water supply, The Nature Conservancy’s Rio Grande Water Fund is restoring forests upstream that have been lost to fires © Alan W Eckert/TNC

It doesn’t need to be that way. Aquaculture is necessary not only because it can be a sustainable food source, but because it can help prevent wild fishing from negatively affecting sea populations. “We need to protect those marine resources and ensure sustainability going forward,” says Jones. “There is a maximum amount that our oceans can provide, in spite of being so vast, covering 70 per cent of our planet and providing food for billions of people.”

While doing things right isn’t always easy, it is certainly possible. “We have seen an amazing growth in potentially sustainable aquaculture,” says Sack. “If we’re looking at mitigating risks, the key is the type of farming undertaken and where it’s undertaken. We need to ensure aquaculture isn’t at an industrial scale that requires antibiotics or nutrients that could harm both the species and the ecosystems where the farms are situated.”

Current developments in sustainable aquaculture include looking at healthy seaweeds and bivalves, such as nutrient-dense oysters and mussels. These can feed people and clean ocean waters without requiring any animal feed or antibiotics. It is also important to engage with the local community around which those more intensive farming activities are based, and make sure that any benefits brought about from sustainable alternatives are ploughed back into the area, protecting mangroves and stone buffers and seagrasses that make our oceans what they are.

Coastal and marine flora aren’t only important for maintaining marine biodiversity. They are also a food source in themselves. Seaweed production more than tripled between 2000 and 2018, with more than 35 million tonnes now being produced annually worldwide. According to the World Health Organisation and the Food and Agriculture Organisation of the United States, “increased cultivation and utilisation of seaweed are expected to be important pillars of sustainable food security and a robust aquatic economy in the coming years.”

Read more: Richard Spinrad on moving towards a blue planet

But making it a sustainable pillar of the blue economy is a challenge. Almost all seaweed production – which accounts for half of marine aquaculture production worldwide – occurs in just nine countries in Asia, where expertise to prevent disease among the crop is not always advanced. Making sure that seaweed farming takes place sustainably, harnessing the potential to diversify the submarine environment rather than bringing disease and industrial production to the seas, is critical.

The responsibility for ensuring that global aquaculture is viable lies not just with the companies doing the farming, but with those bankrolling them. Sack believes the opportunity for investing in sustainable aquaculture is just starting. “There are opportunities to make some money and do good, but you need to exercise some caution, do due diligence and look for impact funds with a firm track record, so that you don’t perpetuate a status quo that isn’t sustainable,” she says. We only have one planet, after all. And we need to make sure it stays around for all life to live on.

Find out more:
noaa.gov
oceanriskalliance.org
nature.org

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

Kate MccGwire is a British artist whose childhood on the Norfolk Broads inspired her to create art around landscapes and wildlife. Often collaborating with fashion brands, MccGwire recently produced a limited edition scarf line with Co-Lab369. Here, Candice Tucker speaks with the artist about linking her nature focused art with the fashion world

LUX: How did you initially get involved with Co-Lab369 and what do you admire about them as a brand?
Kate MccGwire: I met Michelle Lindup, the cofounder of Co-Lab369, about 10-15 years ago in Paris. She was a collector and she bought some of my work at an exhibition. We have stayed in touch and every time I go to Paris, we have lunch together and this discussion about scarves happened during one of those lunches, and it evolved over a period of time.

LUX: You’ve worked on many collaborative projects, from ESKMO, to Iris van Herpen to Helmut Lang. What do you enjoy about collaborative work, and how have you found your latest collaboration with Co-Lab369?
KM: It’s really interesting. It’s a very fine balance, trying to get that ethos straight and we’ve managed to do that. We have worked together for a quite a long time now putting it all together. It’s been a labour of love because Michelle has a really strong background in printed textiles and doing all the sampling, so that was her area of expertise, and my work translates really well into cloth and fabric. The quality of the silk is such a high standard that the lustra of the feathers really come out so it has been really exciting to see it come to life.

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I did a project with Ann Demeulemeester, and my work was on their catwalk show in Paris in 2015 and one of my proudest moments was to see all of these garments which I had worked on, walking down the catwalk in the Palais de Tokyo; it was just such a pinch yourself moment.

LUX: Do you ever find it challenging making sure your vision aligns with the fashion house?
KM: It is always a discussion. There are things I am not prepared to do, I don’t want to change the colours of the feathers, for example. They are all the original colours of the feathers that I work with, and nothing is dyed. I wouldn’t die any feather on my work as I wouldn’t want the colours not to be original to the bird which I think is important.

LUX: You work in many mediums – from sculpture to film to drawing. How have you found incorporating fashion into your work?
KM: I love fashion. I am not a fashionista at all, but I really admire it. The thing I don’t like about fashion is it’s so seasonal. I like to buy something that lasts and is an iconic piece, like the dress I’m wearing now, an Issey Miyake dress. I know that it will be good for years, and I think that about the scarf. It’s not a seasonal thing, it’s not the seasons colour, it’s nature’s colour, it’s not going to go out of fashion, it is a limited edition beautiful aesthetic piece that will last for years.

There are a very small numbers of scarves. For some of them there are only 50 and for others, 200. It’s early days and at the moment, it’s a very small unique range. Someone who wants to buy one from me has already said “I want to frame it”. My work is very labour intensive and therefore quite expensive so it’s a way for people who love my work, to having something, enjoy the work, but not having to spend so much.

LUX: How do you feel about people wearing your art, and would you say that performance, or wearable, art is of particular importance now?
KM: I’m rather subversive in the fact that I love the idea of people wearing something they regard as ‘rats with wings’, pigeons, around their neck. It tickles my humour that that is a possibility, that you can transform someone’s opinion of something being disgusting to something beautiful.

LUX: The feather is something that features beautifully across your works. Why the feather?
KM: The feather is iconic. If you have a white feather, it is a symbol of defeat. Kids will pick up a feather and they will be Hiawatha, it’s a transformative object and they provide warmth and flight, and it also has a method of attraction and that all ties in with what we do to adorn ourselves, in fashion. The feathers do that to the bird; they attract a mate with their various colours.

LUX: In what ways does your art draw inspiration from, and connect, your current life and your childhood in Norfolk?
KM: My family had a boat, not a very smart boat, but every weekend we would go away on this boat and we would travel at reed height across very quiet waterways and I would be the one spotting the Bittern and the Marsh Harrier, like a tiny little vole or an otter if we were lucky and kingfishers if we were very lucky. Now, I live on the Thames, at Weybridge, and I see a kingfisher every single day and I feel like I could never leave that house because that’s such a special thing.

LUX: How do you incorporate sustainability into your work?
KM: My work is made with sustainable materials, they last a long time, although they are very delicate, provided they are looked after very well. We try and use recycled packaging; we are very conscious of that. We don’t use bubble wrap. We try and wrap as carefully as we can but it’s very difficult because the moment a piece leaves the studio it’s very difficult to insist things are done in the way you would do them in your studio, but we try.

LUX: Do you think contemporary art holds a political or fundamental duty to contribute to sustainable changes?
KM: I think so. Going to art shows and seeing them put down a carpet on a Monday and take it up on Sunday and put it in a bin is terrible. If they organised themselves properly they could find a homeless charity and they could use the carpet for 20-15 homes, but they don’t do that; they put it in the bin. Everyone has a duty. Art is a glamourous world, so some people aren’t interested in it.

Read more: Millie Jason Foster on supporting female artists

LUX: What next? Will you return to sculpture or continue in wearable mediums?
KM: Of course, this is very much a tiny fraction of my practice. I have an exhibition opening at the end of this month with Iris van Herpen and she has selected my work to go along with her grand retrospective. I also have work going to Miami at the Untitled Art Fair, with a two-person booth there with Galerie Les Filles du Calvaire, I have loads of commissions and working very hard.

Find out more: katemccgwire.com

Stacey Gillian Abe, Whispers Of Sorghum, 2023

The renowned British curator behind the hit art show ‘In the Black Fantastic’, Ekow Eshun, speaks to Candice Tucker about his curatorial process and his most recent exhibition showing at Claridge’s ArtSpace, London, titled Like Paradise

LUX: Can you tell us about the inspiration behind Like Paradise?
Ekow Eshun: Really the inspiration for the show lies in the work of a number of the artists that are in the show. I was interested in the way an artist like Frank Bowling, who is a great senior figure in the art world, historically, has looked at landscape, and looked at that from a few different perspectives. Frank Bowling used to have a studio beside the River Thames, and was very inspired by the Thames to make works that are lyrical and abstract; that don’t look like water but feel like water.

I started to think about his work, some of the work of other artists, and I began thinking about how different artists, of colour, artists from the African Diaspora, artists of South Asian background, and how a number of them are working and thinking about the visual poetry and possibility of landscape, and how they’re using that as a way to think aloud and create different narratives about the position of people of colour in British society.

LUX: Historically people of colour have been excluded from narratives about the countryside. How does this pervade into perceptions of race in current day politics?
EE: I would say those histories remain part of our present day. Britain’s a fascinating place. It’s very invested and we’re very invested as a country in ideas of landscape and nature and ideas that the countryside is where the real Britain lies and so on. So, the question comes then, when, if you’ve been historically excluded from that, where do you stand in the present day? I would say, to some extent, you stand as a stranger.

Sometimes even walking through the countryside can feel alienating to some extent. I think, with this show, I found some real inspiration in the way that artists are working with those themes, but then creating work that is thoughtful, and also inspiring, and reflective, and expansive.

Shannon Bono, Surrendering to his will, 2023

I was really excited by how many different artists are reclaiming the countryside. Maybe even on behalf of all of us and as a consequence writing a different story about not just the relationship of people of colour to landscape, but also how we, as a country, as a nation, might understand and think about and explore our world.

LUX: Black and South Asian artists come together in the exhibition. In your view, what value comes from putting different cultures in dialogue with each other in this way?
EE: We live in a multicultural society. I think more voices, not less voices, seems to be a good thing. But also when you do that, you come out with different perspectives. So, Osman Yousefzada, who’s in the show, is an artist of South Asian background. We see his work, it’s a big textile piece, but it’s drawing on myth. It’s drawing on belief systems. It’s drawing on his roots and identity in South Asia.

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I guess one of the things that excites me is that you can think about or look at the work of almost any artist, and they might be from India or Pakistan, South Asia, African origin or Caribbean origin, and they’ll potentially be reaching into their personal histories, or they’ll be reaching out geographically to their familial connections. Consequently, you don’t know, really, what will come out of that.

The exciting thing for me, in terms of putting together a show, is that you invite different perspectives. It’s not just the fact of having artists of African diaspora origin and South Asian artists in the same space. The point is to have the conversation about different perspectives and points of view and the possibilities that might arise out of all of that. So, it’s the conversation between those artworks. It’s a conversation between cultures. It’s an intertwining of perspectives and identities and histories.

Sam Ross, Earth – interior – descend, 2023

LUX: Tell us about your curatorial process. How do you choose which artists to feature, and which works will complement each other best?
EE: I always look at the work of artists that I’m inspired by, that I admire, and I always have a running list in my head of artists that I would like to approach, artists that I would like to work with. So, doing a show is a good opportunity to reach out to some of those artists. But you’re also trying to put together a kind of mosaic. If I have one or two abstract artists, trying to measure those up, possibly with some figuration. Maybe I have some photography; it’s about trying to balance the whole thing.

Part of the skill of it, I like to think, or the challenge, let’s say, of putting on the show is, can you create an exhibition that works on different registers or tones at the same time? Thematically, can you find a connection across the artworks? But also, aesthetically, can you find ways that works speak to each other, perhaps in terms of their form, i.e. abstraction or vibration, but also, sometimes, just even the different colours that come to the surface when you start to gather the works together. The truth is, partly I’m working through guesswork, partly I’m working through these artists who are engaged in a similar set of exploration, so what happens when you put them together?

LUX: Are there any particular works that you think particularly complement each other?
EE: There’s more than a few of them! We have the work by Frank Bowling. It’s a large abstract work in pinks and blues and yellows and greens. Across, opposite from the space, there’s an abstract work by Samuel Ross, who’s known as a designer as much as he is a visual artist. It’s an abstract work in denser shades of reds and browns. It’s a heavier painting in some ways, but both of these are works that, again, are exploring the physicality or the possibility of landscape and light and Earth almost kind of in itself.

But then we can look over across the room. There are two paintings by an artist called Kimathi Donkor, which show black people in landscape, apparently enjoying themselves out in the sunshine. You see some of the same colours that are in Frank Bowling’s work echoed in those paintings and you start to see how from one work to another, the colour and tone start to replay itself. So, one work can mirror another in terms of its form, in terms of abstraction or in terms of its colour scheme. You hope overall there are enough threads and continuities that can take you through the space. A lot of that stuff, you don’t spell out, you just possibly see. I guess the satisfaction is if you know it’s there and it’s waiting to be discovered.

Frank Bowling, As Above So Below, 2020

LUX: Your recent exhibition In the Black Fantastic at the Hayward Gallery explored Afrofuturism, which is often associated with science, technology and urban areas. How has focusing on rural settings in this exhibition been different, and do you see the different areas interact?
EE: In a way, one of them I think leads into the other, in that one of the things I was trying to do in In the Black Fantastic was get away from notions of Afrofuturism that are just related to technology and so on. I was interested in water. I was interested in the visual poetry that comes from artists considering feeling like they are in a strange place, reckoning on the strangeness of the everyday.

In fact, I would say that In the Black Fantastic looks at speculation and myth, and so it’s actually really grounded in trying to think about how the ordinary in the everyday can actually itself be a site of strangeness and possibility. In a way, this show does something similar in that we take what’s perhaps is a more commonplace commodity, which is just the natural world, but actually we look at it with the capacity for wonder, the capacity for gazing into possibility that artists bring.

Read more: Italy Art Focus: Patrizia Sandretto Re Rebaudengo

The great thing about putting an exhibition to work with artists is that they have an absolute capacity to render the everyday in astonishing tonalities. There’s a painting downstairs by Hurvin Anderson which shows a woman on a beach but it’s dazzling, perplexing, charismatic, and compelling. It doesn’t take for granted the ordinary and in that respect, I think I’d suggest there’s a linkage from one show to the other show.

LUX: What needs to change in terms of representation in the art world?
EE: I tend not to think too much, “oh, this should change” or “this needs to change.” I tend to think, “well, okay, what can I do in my own way?” In that way, I try to put together shows that reflect aspects of the world as I see it and perhaps, I think, as some of those artists see it. I’d like to think that the result of that is a show that has beauty and possibility at its core. I think maybe the role of a curator can be to open up the space.

Like Paradise is available to view at Claridge’s ArtSpace, London

Patrizia Sandretto Re Rebaudengo

In the first part of our Italy art focus series, curated by Umberta Beretta, LUX speaks to Patrizia Sandretto Re Rebaudengo who founded her fondazione in Turin in 1995. Today, the extraordinary initiatives of Patrizia Sandretto Re Rebaudengo include transforming an abandoned Venetian island into a beacon for art and ecology

LUX: What was the first artwork you bought?
Patrizia Sandretto Re Rebaudengo: Anish Kapoor’s Blood Stone. It was on a trip to London in 1992 that changed my life.

LUX: What drives you to support art education?
PSRR: When we started in the 1990s, contemporary art received little attention in Italy. Education defines the fondazione’s identity and builds awareness of contemporary art in Italy. We offer a rich programme for schools, families and vulnerable people, and we train teachers. Our Young Curators Residency Programme sees three international graduate curators curate a joint exhibition from the work of artists they meet in Italy during a three-month stay. This develops curatorship and places Italian art in a global context. Campo is a similar course we have for Italian graduates.

A view of the Lucas Arruda exhibition at the Ateneo de Madrid

LUX: What are ArtColLab and Verso?
PSRR: ArtColLab is our non-profit project to produce collaborations between artists and designers in order to help widen engagement in art – for example, Nicholas Kirkwood and Paul Kneale created beautiful limited edition shoes. Verso focuses on empowering people aged 15 to 29 in democratic processes. It is an experimental, poetic pedagogical model of exhibitions, workshops and more, on themes of citizenship, inclusion and the collective construction of possible futures.

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LUX: Tell us about your philanthropy in Spain.
PSRR: I love Spain and we established the Fundación Sandretto Re Rebaudengo Madrid in 2017. Madrid is a global capital and a bridge to Latin America. The fundación is now nomadic. We presented Lucas Arruda at the Ateneo in Madrid in 2023 and we’ve also brought the Young Curators Residency Programme to Spain.

1000 Pieces, 1983, by Anish Kapoor

LUX: Who are the artists exciting you today?
PSRR: Globally, they include the painters Michael Armitage and Lynette Yiadom-Boakye, and the work of Josh Kline, Marguerite Humeau, and Klára Hosnedlová. In Italy, works by Giulia Cenci, Giulia Andreani, Guglielmo Castelli and Ludovica Carbotta have joined the collection.

Installation view of Rough Rides, Police States, Broken Windows, 2015, by Josh Kline; Vandal Lust, 2011, and Slavs and Tatars, Mystical Protest, 2011, both by Andra Ursuţa, at the fondazione’s recent show, “Backwards Ahead”

LUX: What is the San Giacomo recovery project?
PSRR: This island, a military site abandoned for more than 60 years, will become an outpost of dreams, a place to produce and show art, and host research and discourse on contemporary culture.

Read more: Italy Art Focus: Umberta Beretta

With its delicate lagoon ecosystem, we will implement principles of sustainability and energy transition there. The fondazione will enable San Giacomo to become a meeting place for artists, environmentalists and the public.

The isola San Giacomo, which has been a pilgrim refuge, a place of quarantine and a military site, is being transformed by the fondazione in the name of art

LUX: What will be your legacy?
PSRR: I hope I am giving back to the community what I have been fortunate to learn during 30 years in contemporary art. Time passes and I think of my two sons, who are also passionate about art, so I am building something that will take on new shapes with future generations.

 fsrr.org

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

The conservation of Cape Foulweather Headland on the Oregon coast, an initiative supported by the Biden-Harris administration through NOAA. © Shutterstock

Richard Spinrad is a pivotal figure spanning politics and academia in the US. As Under Secretary of Commerce for Oceans and Atmosphere and head of the National Oceanic and Atmospheric Administration, the veteran oceanographer has the demanding task of guiding policy around maritime sustainability. Michael Marshall speaks with him about challenges and opportunities

“An environmental intelligence agency” is how Richard “Rick” Spinrad describes it. He is referring to the National Oceanic and Atmospheric Administration (NOAA), the US government agency (of which he is Administrator) that has responsibility for the oceans. The NOAA produces data and predictions around climate, atmospheric conditions, ocean health and protection for fisheries and marine animals – “environmental intelligence” that helps fuel sustainable economic development. One of the biggest challenges that Spinrad and NOAA face is helping to improve the way the oceans are managed so that marine resources are used sustainably. Spinrad’s goal is to maximise NOAA’s impact by ensuring its environmental intelligence reaches those who need it most, so they can respond to the challenge.

Spinrad has spent more than 40 years studying the ocean. He obtained a PhD in 1982 from Oregon State University, his early research tracking how light behaves as it travels deeper into the sea and encounters clouds of drifting sediment. Subsequently, he moved between academia and government. He held roles at universities including Oregon State and was NOAA Chief Scientist under President Obama. On Earth Day 2021, President Biden nominated Spinrad as Under Secretary of Commerce for Oceans and Atmosphere and Administrator of NOAA, putting him in charge of the agency.

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Spinrad arrived at NOAA at a time when public awareness of the environmental crisis, including threats to the oceans, had become greater than ever before. “We are seeing much savvier consumers,” he says. “There’s an increased change in consumer behaviour around being green and trying to figure out products that are not doing harm to the environment.”

Dr Richard Spinrad, Under Secretary of Commerce for Oceans and Atmosphere and NOAA Administrator. Courtesy of NOAA

Alongside the shift in consumer behaviour is the intensifying political pressure to solve environmental problems. “There is a generational push right now,” says Spinrad. “The youth of the world are much better organised and much more active, in a very constructive manner, than I have ever seen in my career.” Activists including Greta Thunberg and Vanessa Nakate have driven climate change to the top of the agenda, pressuring governments to act.

On top of this, the impacts of climate change are increasingly evident. “What’s happening in the world is accelerating,” says Spinrad. “Whereas 10, 20 years ago, people tended to talk about what’s going to happen at the end of the century, now we’re starting to see impacts that are imminent and affecting market values and people’s attitudes today.”

In the United States, the result has been two landmark pieces of legislation passed by the Biden-Harris Administration: 2021’s Bipartisan Infrastructure Law (BIL) and 2022’s Inflation Reduction Act (IRA). NOAA has key roles to play in implementing both. The BIL, formally the Infrastructure Investment and Jobs Act, is a sweeping statute providing $1.2 trillion funding, $550 billion of which is new. The aim is to improve infrastructure in projects related to highways, railways, broadband access, clean water and electricity grids. The IRA is similarly ambitious. One focus is to support and boost domestic clean-energy production. Alongside such priorities, IRA provides much of the funding to support BIL programmes.

NOAAS Thomas Jefferson, an ocean survey vessel, at work. Courtesy of NOAA

Between them, BIL and IRA are providing more than $6 billion for NOAA. This will primarily support three initiatives: better climate data, preparing coastal communities for climate change and better stewardship of fisheries. Ongoing projects include the restoration of coral reefs at Maui Nui in Hawai’i, constructing a living shoreline on Ossabaw Island in Georgia and the conservation of Cape Foulweather Headland on the Oregon coast.

It is a big advance, but Spinrad emphasises that it is a drop in the ocean compared to what is needed. “We are already seeing roughly a 10:1 proposal pressure,” he says. “The demand far exceeds the supply with respect to resourcing.” That means the money to support ocean conservation can’t just come from the government: it also has to come from the private sector.

“There is an investment opportunity,” says Spinrad. To encourage that, in July 2022 Spinrad hired Sarah Kapnick as NOAA’s new Chief Scientist. Kapnick has a background in climate science: she has studied the impacts of climate change on snowfall, the North American monsoon and tropical cyclones. She also has extensive experience of economics and finance: she has been an investment-banking analyst for Goldman Sachs, and her previous role was Managing Director at JP Morgan, with responsibility for climate and sustainability strategy for asset and wealth management.

“Science has shown how important healthy oceans are,” says Kapnick. “We know that disruption to the oceans has knock-on effects for society, including business. It affects ports, it affects supply chains. As a result, investors are increasingly interested in trying to figure out how to invest in these things.” The scale of investment needed to protect the oceans requires “an all-hands-on-deck approach,” adds Kapnick. “In financial terms, there are different layers of financing to achieve all these goals.”

Dr Sarah Kapnick

It will sometimes require blended finance, in which governments, the private sector and philanthropists come together.

Philanthropists are stepping up. “We are seeing some extraordinary developments,” says Spinrad, referring to “major players” who are getting into ocean conservation. Some, such as Julie Packard, daughter of one of the founders of Hewlett Packard, have supported ocean sustainability initiatives for decades. Others, like Amazon founder Jeff Bezos, are more recent entrants. In 2020 Bezos founded the Bezos Earth Fund, which will spend $10 billion on protected areas by 2030. In July 2022 it announced $50 million of awards for marine conservation. This included $30 million to create a network of marine-protected areas off the coasts of Colombia, Costa Rica, Ecuador and Panama – linking biological hotspots over an area of 500,000 square kilometres.

Perhaps the most dramatic recent example of environmental philanthropy was the decision by Yvon Chouinard, founder of outdoor-clothing company Patagonia, to give away the company. In 2022, Chouinard announced that Patagonia would radically change its structure. It will continue to operate as a for-profit company, but its profits will go to a unique trust and non-profit organisation that will support environmental efforts, including ocean conservation. “Chouinard’s action with Patagonia would, I suspect, result in a lot of people opening their eyes to the vast proportions of what is needed for climate action,” says Spinrad.

The restoration of coral reefs in Maui Nui, Hawai’i, an initiative supported by the Biden- Harris Administration through NOAA. © Renee Capozzola

The challenge for NOAA, as Spinrad sees it, is to get more people and companies involved in ocean sustainability – and that, he says, means working with organisations whose priorities are, on the face of it, different to one another. “The burden, if you will, is on the scientific community to get out more,” says Spinrad. NOAA has started a series of engagements and partnerships with diverse groups including the public-health community, the medical community, real-estate companies and the insurance industry. “We are learning to communicate in their terms, rather than trying to force them to speak in ours,” he says.

For example, earlier in 2023 NOAA announced a project to help support the climate needs of insurance companies. In partnership with the National Science Foundation (NSF), NOAA will create the Industry-University Cooperative Research Center (IUCRC), focused on modelling catastrophic impacts and risk assessment of climate change. The idea is to create decision-making tools for the insurance industry, enabling them to factor in risks from climate change, such as sea-level rise and increasingly intense tropical storms, when making financial decisions. NOAA is also conducting research to predict how sea-level rise will impact housing markets.

Such tools will help enable insurance companies to avoid investing in companies and infrastructure set to be threatened by climate change, or at least to charge higher premiums, thereby discouraging the building of non- resilient infrastructure. Working with such a varied group of players represents an ongoing challenge for NOAA. “We have more homework to do to understand how to better communicate these issues,” says Spinrad.

Read more: Enric Sala on working to protect vital areas of the ocean

“One of our pillars is maintaining scientific integrity and having people trust us,” says Kapnick. “We don’t tell you exactly what you have to do; we provide the facts that allow the decision-makers to make those decisions.” At a time when climate change and other environmental issues are reshaping the world in which we all live, being able to forecast, based on scientific evidence, is crucial. “At NOAA, prediction is at the heart of what we do,” says Spinrad. After that, it’s up to us all.

Find out more: noaa.gov

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

YKK’s NATULON® Mechanically Recycled Zip is made with recycled yarn and post-consumer plastic bottles

The amount of zips produced by YKK each year far outstrips the number of people currently on Earth. So how can a company mass producing and growing at such scale stay true to values of circularity and sustainability? LUX speaks to Jim Reed, CEO of YKK America, about why he believes cost and speed need not be barriers to a sustainable business

LUX: Can you explain the cycle of goodness and how it relates to the YKK philosophy?
Jim Reed: The cycle of goodness – meaning that no one prospers without rendering benefit to others – was developed by our founder, Tadao Yoshida. One of his inspirations was Andrew Carnegie, a late 19th century early 20th century steel tycoon, who had a philosophy about a business’ obligation to society. As a young man, Tadao Yoshida got hold of a translated copy of Andrew Carnegie’s biography. He was inspired by Andrew Carnegie’s words and he decided that was the philosophy that should drive us. He was always entrepreneurial, but it wasn’t about how wealthy he could get, it was about how he could help. He wanted to contribute to society.

YKK is used by hundreds of major clothing companies including The North Face, Patagonia, Levi’s and Nike

LUX: Your president, Hiroaki Ōtani, said the company’s immediate vision is for ‘better products at a lower cost and greater speed, more sustainably’. How do you plan to chase growth while also racing towards carbon neutrality?
JR: President Ōtani is talking about getting the right materials for the right products to the right customer at the right time. If you think about those concepts, you’re not overproducing. We’re producing over 10 billion zippers in a year, but our objective is that, at the end of the day, every zipper has a perfect spot and nothing gets wasted. On top of that, he talks about better products, lower cost, greater speed, and more sustainability. If we can be more efficient, and some of the obstacles to sustainability – cost – can be reduced, then a sustainable product can match the price of the less sustainable cheaper product and you can match that substitution more easily.

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President Ōtani reorganised our company in a number of different ways five years ago. He created what we call the Technology Innovation Centre. He took all the smartest people in our company and put them in the Technology Innovation Centre, where they were working on pure research, not product development. Innovation and technology have always been an important part of YKK, and particularly now with climate change issues and sustainability, we all need to be making significant changes.

Beyond zips, YKK produces a variety of other products such as snaps, buttons, buckles, and textiles for apparel and industrial use

LUX: How far is the company’s adoption of renewables impacting carbon emissions?
JR: We’re doing very well in that area. We reported at the end of the last fiscal year that we had reduced scope 1 and scope 2 CO2 emissions by almost 47% against our base year. What’s even more significant is that we’re not talking about CO2 emissions per zipper – we’re actually growing our production. Even though our production is increasing, we know our CO2 emissions have to be reduced, and we were able to reduce them significantly. Our 2018 level of CO2 emissions is our base level, by 2030 we’ll cut that in half, and by 2050 we’ll be carbon neutral. Around the world we’re looking at about 32 facilities which are currently using 100% renewable electricity, and very actively working to change the others. That can be a challenge because every facility has a different footprint and has a different source of electricity. But we are continuing to try to find a variety of different mechanisms to employ this.

LUX: What are the pillars for sustainable strategies for textiles packaging and waste management?
JR: For textiles, the main thing is to switch over to recycled thread. We call that NATULON. YKK had been offering to use recycled thread for over 20 years, and we’ve probably had the product for 25 years. Now, the market desires it, and so now we are able to switch over to 100% recycled textile. 26% of our products last year were using it, and that’s going to grow rapidly. We hope that will get up to 41% by next year. We’re working on a complete switchover.

YKK produces more than 3 million kilometers of zips every year

When we talk about waste management, you think about inputs coming into the factory and products coming out, and waste as a by-product of that. You put that waste back into your process. The objective is to get inputs coming into your factory and the only thing that comes out is the product. ECO-DYE technology uses CO2 instead of water to colour the zipper tape. That removes water from the process, which removes the need to take dye out of the water. We also have something called AcroPlating. If you get rid of the need to apply the bad chemicals, then you don’t have to worry about managing the waste on the back end.

Read more: Salomon CEO Franco Fogliato on environmental responsibility in business

LUX: Can you tell us about the partnership between YKK and the Monitor for Circular Fashion? Do you think it could lead to systemic change within the fashion industry?
JR: These partnerships are really important because, just like the UN statement on climate change or the Sustainable Development Goals or the Fashion Charter, all of these statements and actions can really scope the objective to solve the problem. It gives us all targets, and then when we join the Charter, we make promises that we have to stand by. Those are extremely important, because we all need to be speaking the same language and talking about the same objectives. With those statements, the fashion industry can declare to the people of the world that we’re moving in an environmentally-friendly direction and can get the support of their customers, which gives us the inspiration to innovate into that change. Once those goals are clear, then industry can innovate towards it and solve the problem just like we’ve been able to solve any problem when we’re focused on it.

All images courtesy of YKK

Find out more: www.ykkfastening.com/sustainability

Italian art collector and philanthropist Umberta Beretta

Italy’s contemporary art scene is blooming. After decades of being perceived as a museum of the past, the home of the Renaissance is experiencing another rebirth under a new generation of philanthropists, curators and collectors. Guest editor Umberta Gnutti Beretta introduces and curates some of the key figures on the new Italian scene for LUX’s Italy Art Focus series

Art philanthropy has been a part of Italian culture since before the time of the Medici. It is a tradition that is not incentivised by tax breaks, as it is in countries including the US, but it is very prominent all the same. It is for this reason that we see the significant and powerful exercises of Italian philanthropy that we are showcasing in LUX.

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Italian philanthropy happens among all generations including the young. We can see this in the case of Edoardo Monti, who was 26 and living in New York when, in 2017, he decided to move back to Italy, to a family palazzo in Brescia, to start the Palazzo Monti residency.

Umberta Beretta with Edoardo Monti at Spazio Almag

We are also seeing the increasing role of women. There is Patrizia Sandretto Re Rebaudengo, of the Fondazione Sandretto Re Rebaudengo in Turin, who supports contemporary artists and whose team curates art for everyone to enjoy. There is Gemma De Angelis Testa, who created ACACIA, an association of friends of Italian art, and who has donated 105 works to Ca’ Pesaro Gallery in Venice from her private collection. Giovanna Forlanelli Rovati opened the Fondazione Luigi Rovati, named after her late father-in-law, recently adding an art museum showing Etruscan and contemporary art. Beatrice Trussardi runs the Fondazione Nicola Trussardi as a nomadic project that creates exhibitions in often forgotten spaces and places. L’Espresso magazine did a story on all of us: the mecenate, female patrons of the new Italian art revolution.

Umberta Beretta with artist Jenny Holzer

Despite its rich art history, Italy is not a leader in the contemporary art world in terms of money – most auction activity is in London, New York, Paris or Asia. But in terms of seeing art, everyone wants to come to Venice or Milan or Florence. The quality here is very high. We have artists such as Maurizio Cattelan
, who stands out in the contemporary art scene, and Lucio Fontana in modern art history, but there is so much more. Paola Pivi and Marinella Senatore are very interesting, and there are rising stars like video artist Diego Marcon, transspecies performance artist Agnes Questionmark and industrial artist Arcangelo Sassolino.

Umberta Beretta with Arcangelo Sassolino and Paolo Repetto

In addition to hosting foundations, Italian cities have become places for contemporary artists from around the world to live and work. Danish artist Leonardo Anker Vandal is in Brescia; Ignasi Monreal from Barcelona and
Thelonious Stokes from Chicago live and work in Florence; and Ukrainian artist Daria Dmytrenko is in Venice. As well as being the location of the Palazzo Monti residency, Brescia is the Italian Capital of Culture this year. And Florence has the Fondazione Palazzo Strozzi, where Arturo Galansino has created a world-class art museum. So artists can come to Italy and take a look at what surrounds them, old and new, and be inspired. It’s different, in my view, from going to a loft space in New York and taking a look around that.

Umberta Beretta with artist duo Gilbert and George

Our very strong commercial galleries include Massimo de Carlo, and kaufmann repetto by Francesca Kaufmann and Chiara Repetto, both in Milan. In my Brescia hometown, Massimo Minini opened Galleria Massimo Minini in 1973.

Read more: An Interview with Maurizio Cattelan

He is a great gallerist and has a long history of friendship with amazing artists, including artists of the Arte Povera of the 1960s. The art scene in Italy is very old, but it is also very new. It’s an exciting time both in Italian art and Italian art philanthropy.

Umberta Gnutti Beretta is a philanthropist who supports work in fields of medicine, women and children’s rights and the arts. Among many roles, she is on the governing council of the Fondazione Brescia Musei and is President of the Restoration Club of the Museo Poldi Pezzoli.

umbertagnuttiberetta.com

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