Florence Kasumba. Photo by Diane Betties

The multilingual martial-arts expert and star of Black Panther: Wakanda Forever, Florence Kasumba, speaks to LUX about growing up Ugandan German and championing strong women

LUX: What inspired you to act?
Florence Kasumba: I grew up in Essen, Germany, in an all-white area. The only black people I knew were my mother and siblings. One day, my music teacher took our class to see Starlight Express. I was overwhelmed seeing people who looked like me on a stage and being celebrated by the audience. In the show, artists sing, act, dance and do acrobatics – on roller skates. I’d never seen anything like it. In that moment, I wanted to be a performer.

LUX: How do you navigate acting in three languages?
FK: I grew up in Germany, learnt English from age ten and studied in the Netherlands. I have done a lot of global productions and the common language tends to be English. But speaking three languages is one reason I have an international career.

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LUX: Is your Ugandan German identity important to you?
FK: I was socialised in Germany in a Ugandan household, but I am more familiar with the German way of living. When it comes to identity, I walk through life as a black woman. I am aware of my appearance and have learnt how to navigate in different situations. Some are safe, some not. That is just part of my life.

LUX: How does a director get the best out of you?
FK: I perform 100 per cent. That is my duty. It helps when the director does not scream at me.

LUX: How do you get the best out of you?
FK: For everything that does not come naturally, I ask for help. If I have to speak with an accent, I work with a language coach. If I have to work with weapons, I train with experts. I will always give my best effort, but give me time and training and you will get my absolute best.

Danai Gurira, Lupita Nyong’o and Florence Kasumba in a scene from Black Panther © Matt Kennedy/Disney/Marvel Studios via AP

LUX: What are the joys and pains of you job?
FK: I enjoy roles that need a certain physicality. Ayo in the Marvel films is one of my favourites as I get to train with the Marvel stunt team, which is fun – but sometimes painful. Like most people, I can feel insecure out of my comfort zone – when I need a skill that is not yet developed, or when dialogue has been changed just before I go on set. It used to bother me when people were rude, but now I know how to steer my focus to what is important for the scene. I am grateful I chose this path to become a performer.

LUX: Tell us about your character in Black Panther: Wakanda Forever
FK: I play Ayo, one of the Dora Milaje, an elite troop of Wakandan female warriors. Ayo and her team are responsible for the safety of the King and Queen of Wakanda, and the royal family.

LUX: Are martial arts good for body and soul?
FK: I am not an expert on the effects of martial arts on the human body, but from my experience in Shaolin Kung Fu, Tai Chi Chen, Tai Chi Yang and Qigong, my body has become stronger, I focus better and I am mentally stronger. Regular training has improved my coordination, flexibility, endurance and accuracy. I am more balanced and have less tension in my body.

Read more: Carolina Bucci on creating her own brand vision

LUX: What’s your favourite memory from the German TV series Deutschland 86/89?
FK: Working with the creative team was fun. We mainly filmed 86 in South Africa and working with actors who had experienced apartheid was educational. I enjoyed Cape Town. My favourite time was the scene in the safe house, when ANC members plan their next move. We were a lot of actors in one room and had time to chat between takes. This is how you get to know about people’s lives and culture.

LUX: How would you advise young people?
FK: I would say: work hard, stay focused, do not compare yourself to others, know you will make mistakes and learn from them. Surround yourself with people who have the same passion you do. Once you have found them, support each other.

Interview by Isabella Sheherazade Sanai

Black Panther: Wakande Forever is available to stream on Disney+

This article was first published in the Spring/Summer 2023 issue of LUX

Patrick Sun at the exhibition “Myth Makers – Spectrosynthesis III”, JC Contemporary, Tai Kwun, Hong Kong

One of Asia’s bravest, most significant and most understated art philanthropists, Patrick Sun speaks to LUX about the challenges LGBTQ artists face in Asia, and who he is collecting

Patrick Sun has a light touch. When we bump into him at an art event in Singapore, he chats joshingly with some of the other collectors and exchanges thoughts on which parties to attend, or avoid. But his mission is anything but light.

A Hong Kong native, educated in Canada, Sun made his fortune in property development in his home territory, all the while turning his attention to philanthropy with a purpose. His Sunpride Foundation supports LGBTQ artists and art in a region where they have traditionally been sidelined or suppressed.

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Sunpride has supported and co-hosted a series of shows entitled “Spectrosynthesis”, which started as the first LGBTQ themed exhibition staged in an art museum in Asia. Sun collects art from Asian artists with an aim to support LGBTQ creators. Beneath the light touch is a serious purpose, and an awareness of the suffering many LGBTQ artists face, particularly in more conservative Asian cultures.

Hollyhock and Pure Daisies, 2020, by Yue Minjun

Sun chatted with us after our meeting in Singapore. He has raised a great deal of awareness in a short space of time, but there is a long way to go in a continent where homosexuality is illegal in several countries, and has a cultural stigma in others.

LUX: What recent acquisitions are you most excited by, and why?
Patrick Sun: I can think of two that are each significant in their own way. First, Yue Minjun’s Hollyhock and Pure Daisies: a portrait of gay icon Leslie Cheung and his partner, which features two flowers that are not supposed to bloom in the same season, representing the love between a couple who are not “meant” to be together. Second is Visitors by Bhupen Khakhar. We have always wanted to collect Bhupen Khakhar‘s paintings, but since his retrospective at Tate Modern in 2016, good works are rare to come by and prices have skyrocketed, often reaching several times the high estimate at auctions.

Artist Ming Wong, Patrick Sun and artist Korakrit Arunanondchai at the “Spectrosynthesis II” opening party, Bangkok, 2019

When we saw Visitors, a beautiful painting that was to be auctioned in London, we asked for a private viewing and got to meet a Sotheby’s expert, Ishrat, who is passionate about Khakhar’s work. The painting shows the artist lying on his deathbed, revisited by spirits of past friends and lovers. Ishrat shared how Bhupen didn’t paint any explicit scenes concerning his sexuality until his mother passed away. She got emotional as she related the story and it also brought tears to my eyes, because it dawned on me that the year my mother died was the year I started Sunpride. Ishrat and I cried on each other’s shoulders and did the utmost to help us procure the work, concluding the purchase just hours before it was supposed to go under the hammer.

Visitors, 1998, by Bhupen Khakhar

LUX: Do you only collect works by LGBTQ artists?
PS: As illustrated by the Yue Minjun work, the answer is no. We also collect works by straight artists that explore a queer theme. It is important to have such representation, so that nobody needs to be labelled or “outed” through their participation in our collection or exhibitions.

Patrick Sun with collector Rudy Tseng

LUX: Is real progress being made on LGBTQ affairs in Asia?
PS: Progress often comes in ebbs and flows. On the whole, I see more progress than regress towards the queer community. Take Hong Kong as an example: on issues such as spousal visas, taxation and housing benefits, there has been some advancement in the right direction. Just in February 2023, transgender people scored a victory in gender status on identification documents. I remain optimistic things will change for the better.

Installation at “Spectrosynthesis II”, Bangkok Art and Culture Centre 7/F, BACC, 2019

LUX: Do artists of all types have more freedom and creativity than a few years back?
PS: I am not in a position to answer for all artists, but for queer artists in Hong Kong I believe the answer is affirmative. In recent years, we have had more LGBTQ themed exhibitions, both in public and private spaces. We have also seen more presentation of such works in art fairs and galleries.

Sun with artist Yuki Kihara at Kihara’s installation, Paradise Camp, New Zealand Pavillion, 59th Venice Biennale, 2022

LUX: What are the most exciting places in Asia for art?
PS: I think Hong Kong and Tokyo are two very exciting cities to focus on. Art Basel returned to Hong Kong in full force in March 2023, and the excitement was palpable and invigorating. I also have very good feelings about Tokyo when it comes to queer art: the sentiments are ripening for a more diverse and inclusive society, and a new art fair will take place in July 2023.

Installation view featuring Conundrum Ka Sorga (To Heaven), 2019, by Anne Samat, at “Myth Makers – Spectrosynthesis III”, JC Contemporary, Tai Kwun, Hong Kong, 2022

LUX: Singapore is getting a creative glow, but will it catch up with Hong Kong for art?
PS: I have never felt there is a need to pitch one city against the other. If there is competition I believe it would be a healthy one. The market in Asia is certainly big enough to accommodate two or more art hubs.

Patrick Sun with collector Disaphol Chansiri

LUX: Are you pessimistic or optimistic about the future of creativity in Asia?
PS: I am by nature an optimist, and I believe that a positive attitude helps attract the right energy, especially creative energy.

LUX: What are the most interesting advances in digital art?
PS: Interactive installations and generative creations are two developments I find most interesting. Both use technology to reach beyond capabilities of the human mind.

Patrick Sun

LUX: Will AI kill art?
PS: I see AI as a way for humans to explore new horizons and perspectives. It is a collaboration between human and machines rather than a rivalry. I believe AI can enhance our artistic culture and diversity instead of diminishing it.

LUX: How have events in the past couple of years affected your mission?
PS: Our mission remains unchanged since the foundation’s establishment in 2014, but Covid has inevitably affected some plans. Our most recent exhibition, “Myth makers – Spectrosynthesis III”, at Tai Kwun, Hong Kong, was meant to be held concurrently with Gay Games in Hong Kong, originally planned for 2022. We were aiming for synergy between arts and sports to enhance acceptance for the LGBTQ community.

Passion, 2017, by Jun-Jieh Wang, at “Spectrosynthesis”, MOCA Taipei, 2017

Gay Games postponed its event due to the pandemic, but we decided to stay put. With Covid-related curbs, it was also difficult for our curatorial team to reach out to overseas artists to commission works and to get them to fly here for installations.

Read more: Art Dubai opens in support of South Asian artists

However, staging the exhibition in Hong Kong, where our curators and myself are based, helped to minimise the impact of this issue. There was actually a sliver lining, because we benefitted in having a broader local representation; more than one-third of the artworks presented in “Myth Makers” were created by artists based in Hong Kong.

Find out more: sunpride.hk

This article was first published in the Spring/Summer 2023 issue of LUX

Jean-Michel Basquiat, Untitled (Devil), 1982. Private Collection; © 2023 Phillips Auctioneers LLC, all rights reserved; © Estate of Jean-Michel
Basquiat. Licensed by Artestar, New York

Eight monumental works created by Jean-Michel Basquiat when he was 21 years old are brought together for the first time in an exhibition at the Fondation Beyeler, institutional partner of Swiss luxury watch brand Richard Mille. By Darius Sanai

What is it about Jean-Michel Basquiat that continues to captivate, 35 years after his death in the summer of 1988 at the age of 27? His art, for sure. Although he wasn’t quite the global superstar he would become after his death, his art was recognised at the time as being original, monumental, complex, important.

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Then there are the societal and political themes. Born to a Haitian father and a mother born to Puerto Rican parents, Basquiat was, and arguably remains, the only black artist to have achieved global superstardom. The representations of racial oppression in his works came less than 20 years after segregation – a form of apartheid – was formally abolished in the US.

Jean-Michael Basquiat, Profit 1, 1982. Private Collection, Switzerland © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photo by Robert Bayer

And then there is the social context. Although many of the themes in his work are deadly serious, Basquiat was a pioneer and a high-flier in perhaps the most exciting art scene that has ever existed in the western world, that of New York during the birth of hip- hop, punk, new wave and rap. He was friends with Andy Warhol, sold his first painting to Debbie Harry (for $200) and made music with some of the biggest names in the emerging hip-hop scene. Basquiat was friends with Afrika Bambaataa and Grandmaster Flash, as well as a punk-art crowd at the Mudd Club and CBGB. He also had a good fortune, or misfortune, to shoot to fame during one of the art world’s biggest booms, which subsequently went bust not long after his death of a death heroin overdose.

The 1980s are, in many ways, when the contemporary era began, and Basquiat, and graffiti poet, musician and multimedia artist, was a fresh symbol of the era, both in his works and his vivid social life, making Warhol at the time seem old and outdates to many. There is also the fact that Basquiat was making art in parts of New York that were run down to the point of abandonment – this is a city that declared bankruptcy in the 1970s – and which are now the site of the homes of wealthy art collectors, who may have been children when Basquiat’s legend was being established.

Jean-Michael Basquiat, Untitled (Woman with Roman Torso [Venus]), 1982. Private Collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photo by Robert Bayer

Basquiat’s life itself seems to be out of a fictional movie so cruel it could not be made. Inspired in art and poetry by his moth, who subsequently disappeared into a universe of insanity; a poet writing on walls with a sharpness of words and perceptiveness that could shock society; a socialite and charmer so handsome he was asked to work as a catwalk model and who counted himself as Madonna‘s first boyfriend; an artist of such originality and brilliance that his work s have grown with time; and a young man with countless pressures pressing down on him who died of a drug overdose in new York’s 1980s peak.

Ultimately, it’s all about the art, as this monumental exhibition at the Fondation Beyeler in Basel, Switzerland, demonstrates. “Basquiat: The Modena Paintings” showcases eight huge canvases, all over two metres by four metres, created by the artist when he was invited to create works in the Italian city in 1982, at the age of 21. Already a celebrated name on the contemporary art scene, Basquiat was invited to Modena by the Italian gallerist Emilio Mazzoli, who provided Basquiat with a warehouse space to create work for an intended solo exhibition. It was not a happy time for Basquiat, who later commentated, “They set it up for me so I’d have to make eight paintings in a week”, adding that working in the warehouse made him feel like he was in a “sick factory”. He made eight paintings, before a disagreement between the artist’s representative and Mazzoli led to the cancellation of the exhibition. The gallerist paid Basquiat for his work and he returned home.

Jean-Michel Basquiat, The Guilt of Gold Teeth, 1982. Nahmad Collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photo by Annik Wetter

It took time for the eight works to find homes – astonishingly, in retrospect, as they are now considered some of his greatest works, perhaps his greatest. The exhibition at the Beyeler was the first time they have ever been reunited and shown in one place, and the location is highly apposite. In 1983, a year after his unhappy trip to Modena, Basquiat was invited by Ernst Beyeler to take part in the exhibition “Expressive Painting after Picasso” at his gallery in Basel – a Basquiat work was on the cover of the exhibition catalogue. Years later, in 2010, the Fondation Beyeler, of which luxury Swiss watch brand Richard Mille is an institutional partner, held the first major museum Basquiat retrospective.

Read more: The Richard Mille Art Prize with Louvre Abu Dhabi

We can only imagine what Basquiat – who would be in his sixties now – would have produced had his life not come to such an early end; what contributions he would have made not just to the art world, but to the broader world of the arts – to poetry and to society as a whole, as perhaps the first celebrity contemporary artist. But in these canvases in Basel, his power and brilliance are compelling.

Find out more: fondationbeyeler.ch

Photo by Ben Thouard

To achieve the Paris Agreement target of net zero by 2050, the world needs to shift to green infrastructure – now. In part 1 of our two-part series on making that change, Claire Asher shows how the public and private sectors can speed the move from fossil fuels to green energy

Giving up our addiction to fossil fuels will be the biggest energy transition the modern world has seen. It will require rapid changes to our energy systems and huge investments from both the public and private sectors, and it will be essential to ensure a liveable climate for generations to come.

Roberto Schaeffer

The first steps in this transition are already underway. By redesigning systems, such as heating and transportation, to use electricity rather than liquid or gas fuel, we gain the flexibility to generate that energy from a variety of sources. “Everything that can be electrified will have to be electrified,” says Roberto Schaeffer, Professor of Energy Economics at the Energy Planning Program of the Federal University of Rio de Janeiro in Brazil. Our future energy portfolio will likely include a mixture of wind, solar, hydroelectric, geothermal, biofuels and nuclear energy, tailored regionally to match local availability, as well as social and political priorities.

“Our total energy use will decline significantly as we electrify transportation and heating,” says Anthony Patt, Full Professor of Climate Policy at the Institute of Environmental Decisions (ETH) in Zurich. Nevertheless, global electricity demand will likely rise as we transition, to replace existing coal- and gas-fired power plants and to replace fossil fuels used in transportation and heating. “We’re going to need a lot of new power, a lot of investment into wind and solar,” he says.

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In the short term, growing energy demands will be eased by improving efficiency. “There’s capital needed in the near term to help reduce energy wastage,” says Alice Miles, Head of Infrastructure Specialists at DWS Group asset managers. “It sounds a lot less glamorous, but there needs to be investment to upgrade to more efficient air conditioning, ventilation and refrigeration systems, better insulation and better boilers.”

Balancing Supply and Demand

Compared with fossil fuels, renewable energy sources such as wind, solar and hydroelectric provide a less consistent output that varies daily and seasonally, so matching energy supply with demand will be challenging. The most obvious solution is to store energy for later use, but installing batteries to store electricity is not cost-effective. “If you’re thinking about storing power from one season to the next, it becomes almost prohibitively expensive,” says Patt.

Anthony Patt

Scaling up battery storage will also place pressure on global supply chains. Current battery technology relies on specific minerals, such as lithium and cobalt, which are produced in only a few countries, including China, Bolivia and the Democratic Republic of the Congo. Although renewables promise increased energy independence, Schaeffer warns that, “with the energy transition, we may become even more dependent on a few countries because of the need for these materials.”

An alternative to large-scale energy storage is large-scale energy grids. “We need a grid that is bigger than our weather systems to balance out the regional differences in production,” says Patt. Weather systems alter wind speeds for days at a time, at the scale of hundreds of kilometres, so this will mean “moving from a national model of electricity planning to a more European model, and with a lot of grid interconnections,” he explains. With the right continental-scale planning and grid infrastructure in place, “you could install enough wind and solar in the right places, so that we wouldn’t have to store electricity,” adds Patt. However, this may be politically challenging.

Building a Diverse Energy Portfolio

“The number of sectors where it is cost-effective to electrify has only been increasing,” says Patt. But there are exceptions, such as the steel and chemicals industries, aviation and shipping. Alternative fuels will be needed to reach net zero in these sectors.

Biofuels, such as bioethanol or biodiesel, are one such alternative. “Biofuels can be engineered to produce exactly the kind of molecule we need for a plane or a ship, meaning that you don’t need to adapt,” Schaeffer suggests. “Similarly, some oil refineries can be adapted to also co-process biomass.” This has the further advantage of mitigating the inevitable obsolescence of existing infrastructure. However, the role of biofuels will likely be limited by competition with food crops for available fertile land and fresh water.

Synthetic fuels, produced directly from water and carbon dioxide using solar energy, could be used as an alternative to fossil fuels for sectors such as long-haul air travel and shipping. But these technologies are not yet fully mature.

A third option is hydrogen, although currently most hydrogen is produced from fossil fuels. “Really, the only sustainable option is so-called green hydrogen, which uses renewable power to split water into hydrogen and oxygen,” says Patt. This method could be used in chemicals industries that require extremely high temperatures, or as a replacement for coal in the steel industry. Elsewhere, Patt believes hydrogen’s role will be limited. “It’s going to be much more efficient to just use electricity,” he explains.

Climate Change Threat to Energy Infrastructure

Energy infrastructure was designed to withstand climate and weather conditions experienced over past centuries, but the coming decades will bring more extremes, meaning that current infrastructure will be operating outside its tolerance levels more frequently. For example, sea-level rise poses risks to coastal fossil-fuel extraction and processing infrastructure, such as oil and natural-gas platforms and refineries; increasingly frequent and severe storms can damage energy transmission lines, such as overhead electricity pylons; extreme heatwaves and drought could impact the water-based cooling systems used by coal and nuclear power plants.

Existing infrastructure may need to be adapted to cope with these extremes, and new infrastructure will need to be designed to withstand the new normal. “We have to build infrastructure that’s going to be capable of dealing with a new world,” Schaeffer explains.

There is, however, an irony in some cases. “Renewables seem to be much more vulnerable to climate change,” Schaeffer says. This is because they rely on natural processes that may be disrupted as the climate changes, such as rainfall and air currents that drive hydroelectric and wind turbines. “It is paradoxical that fossil fuels are more reliable in the face of climate change,” he adds. Changing weather patterns may reduce hydropower output, by making dry spells drier and overloading the system during the wet season. However, computer simulations by Patt and colleagues suggest that the impact of climate change on total energy output from wind and solar will be small.

Photo by Ben Thouard

Creating the Right Regulatory Environment

“From a technical point of view, the energy problem is solvable,” says Schaeffer. Renewable electricity is now the cheapest source of power in most regions, and estimates suggest that it could satisfy 65 per cent of the world’s energy needs by 2030. However, new infrastructure means large and long-term investments.

“The critical thing is to create a regulatory environment in which anybody investing in renewable-energy production knows they’ll make money,” says Patt. An example would be government incentive schemes, such as feed-in tariffs, which guarantee a fixed price per unit of renewable energy. “These remove the issue of market volatility, which has been a major impediment to new investment in the power system,” says Patt. “Solar and wind are cheap enough now that these policies don’t have to be expensive, but they are important to remove market volatility and guarantee a positive return on investment.”

Read more: Markus Müller on the links between the ocean and the economy

Recent global crises have underscored the need for a global energy transition. “There has really been a shift in mindset,” says Miles. “There were a couple of things that drove that change and crystallised the focus. The war in Ukraine was one, both in terms of the huge increase in the cost of energy, but also energy security, particularly in Europe; COVID-19 was the other.”

With increases in oil and gas prices, disruptions to global supply chains, concerns about energy security and the impacts of climate change becoming increasingly visible, more businesses and investors understand that the energy transition is not only needed, but presents a valuable opportunity. “In the EU alone, it’s estimated that the green transition will cost €350bn, of which €250bn will need to come from non-government sources,” explains Miles. “Investors increasingly recognise the opportunity to support the energy transition while generating an attractive return.”

How to scale up to net zero

To achieve the Paris Agreement target of reaching net-zero carbon emissions by 2050, green-energy solutions not only need to happen, but need to scale up fast. This urgency presents opportunities for investors hoping to support the energy transition and see a positive return on their investment. “I think private capital will play a huge role in taking businesses with proven business models and proven technology, but which need scale, to the next level of growth,” says Alice Miles, Head of Infrastructure Specialists at DWS Group. “Without scale, a lot of these initiatives are just a drop in the ocean.”

Alice Miles

The infrastructure for generating renewable energy, such as wind and solar, tends to have high initial investment costs, but relatively low operating and maintenance costs. Once operational, renewables projects can sometimes provide investors with stable revenue that is relatively sheltered from price volatilities. For example, power purchase agreements (PPAs) between electricity generators and consumers such as utility companies, set a fixed price per unit of electricity over a multi-year time frame, offering stability and de-risking revenues for the generators. However, in other scenarios, investors may be exposed to energy price volatility without recourse to protect themselves.

“There’s a virtuous relationship here, because there are investors with capital to deploy who want to see a good return, and then there are companies with proven technologies that need to scale,” says Miles. “Both of those parties can win – and we can all win – by finding the right way to route capital to the companies that can make an enormous contribution to the energy transition story.”

This article was first published in the Deustche Bank Supplement in the Spring/Summer 2023 issue of LUX

(left to right): Oceana CEO Andrew Sharpless, Oceana Board Member Dr. Daniel Pauly, X, Oceana Chief Policy Officer Jacqueline Savitz, and Oceana President Jim Simon attend the Oceana’s 2021 SeaChange Summer Party in Laguna Beach, CA. Photo by Kevin Warn

Jackie Savitz is a marine biologist and the Chief Policy Officer for Oceana, an ocean conservation organization focused on influencing policy decisions. Here, she speaks to LUX about how and why governments need to be pressured to introduce fundamental policy changes for the good of all

LUX: You have an extensive background in environmental science. When did you decide to dedicate your career to ocean conservation?
Jaqueline Savitz: Ever since I was a teenager, I knew that I wanted to protect the oceans. After I was exposed to a marine science program at Wallops Island, VA, there was no turning back. I grew up spending summers at my grandparents’ on the New Jersey coast and fell in love with the ocean at an early age, so when it was clear that ocean conservation could be a profession, I was sold. It was obvious to me – even as a kid – that human impact on the environment needed to be managed, and that the implications of not doing so would undermine the integrity of the environment, including our oceans.

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LUX: Can you tell us more about Oceana’s goals and values, and your role within the organisation?
JS: At Oceana, we recognize that the oceans can provide food for a billion people or more, on a regular basis, if they are properly managed. Making fisheries sustainable is key, but it’s not the only thing we need to do to realise that goal. We also have to prevent pollution and climate change, which both threaten biodiversity and the health of marine ecosystems. For example, plastic pollution does not belong in the stomachs and digestive tracts of sea turtles, sea birds, fish, marine mammals, or even humans. The fact that this is already the case indicates a threat to the survival of sea turtles as they are threatened or endangered species, and it could also compromise populations that are not yet endangered. We also advocate for transparency which, when built into our policies, or made real through technology, can allow our societies to better manage resources.

As Chief Policy Officer, I oversee Oceana’s campaigns in the United States as well as in Belize, Mexico, and the European Union. My goal is to make sure we have impactful and successful campaigns that rebuild fisheries, reduce illegal fishing, and protect the marine ecosystem from oil and gas development and plastic pollution.

Jackie Savitz speaks as Oceana Presents: Sting Under the Stars in Los Angeles, CA on Tuesday, July 19, 2016.
Photo by Alex J. Berliner/ABImages

LUX: Working on this global scale, can you tell us about the challenges you’ve encountered while navigating different political landscapes when working towards policy change?
JS: Oceana works in countries that have a democratic process in place, which is key to creating people-driven change. However, even in a democracy, there are impediments to winning policies to protect the oceans. Strong corporate lobbies like the petroleum, plastics, and fishing industries have a lot of muscle to push back against policies that benefit all of us, such as those to stop overfishing and ensure we have fish in the future, or policies to transition to clean energy and reduce the impacts of climate change. But we have found that we can win when politicians hear science-based messages from diverse voices, all saying that a new direction is needed.

LUX: How can organisations like Oceana effectively communicate complex environmental issues to the public to encourage action and engagement?
JS: Communicating science in a way that makes sense to the public can be difficult, but it is essential and not impossible. We recognise that our audience is much larger than the scientific community, and it includes journalists, lawmakers, and citizens of every profession. We speak to our audience, and that may mean we write scientifically for scientists or legalistically for legislators, and we speak to citizens in plain language that allows them to interpret the message and take action. We have found that when we engage the public, we can influence legislators on all sides and win campaigns that may look impossible at the outset.

Photo by Francesco Ungaro via Unsplash

LUX: How is the use of technology transforming the field of marine conservation?
JS: There are so many technological tools that are now being applied to marine conservation that we should anticipate great leaps forward as a result. Satellites bring us increasingly complex data on ocean conditions and activities, providing the locations of cargo ships, fishing vessels, and more, and introducing a world of new possibilities. The application of machine learning and the ability to work with massive amounts of data is incredibly empowering. Oceana, along with our partners at Skytruth and Google, used those tools to build a web platform that makes the actions of fishing vessels visible in near-real time, and we make it available to the public online for free. It’s called Global Fishing Watch, and it has continued to increase capabilities since its formal launch in 2016. This is creating transparency on fishing globally and allowing Oceana to continue to evaluate fishing activity so we can identify and enforce against illegal fishing.

LUX: Given your background in academia, how do you think we should be bridging the gap between scientific knowledge and policy-making?
JS: Science is fundamental, but it doesn’t exist in a vacuum. Politics is real, and it has an impact everywhere. So much of policy is not based purely on science. It is influenced more and more by powerful lobby groups and the only way I know of to overcome that is to organise voters, real people, who are affected by policies, and make sure their elected officials are hearing from them. Voters are the main source of accountability and when there is accountability, we can create an environment where science and public interests prevail.

Former Secretary of State John Kerry and Jacqueline Savitz at the launch of Global Fishing Watch reception in 2016.
Photo by Franz Mahr

LUX: Oceana has had numerous key victories in the realm of ocean conservation and policy making. Which of these victories are you most proud of?
JS: I’m incredibly proud of our teams that have stopped bottom trawling in 90% of the U.S. West Coast states of California, Oregon, and Washington. We have fought bottom trawling in Europe, Belize, and Brazil, as well. And our teams in the U.S., Belize, and Europe have taken many types of gillnets (some of them a mile long and many stories deep) out of the ocean. So much habitat has been protected, and so many animals have survived because of those campaigns. We hope to replicate that elsewhere and continue to increase protections against bycatch, overfishing, and habitat destruction.

LUX: You’ve spoken before about the link between conserving the oceans and feeding the world’s hungry. What key changes need to be made in the seafood industry to address the problems we are facing today?
JS: Governments need to set science-based limits to prevent overfishing, prevent bycatch of species that are not targeted including other fish, as well as marine mammals, sea turtles, sharks, and more, and we need to protect marine habitat that fish and other sea life depend on for activities like feeding, breeding, and shelter from predators.

Read more: Jean-Baptiste Jouffray on the future of the world’s oceans

LUX: What do you hope is the next big policy win on the horizon for Oceana?
JS: On offshore drilling, President Biden is preparing to issue the government’s next five-year plan for offshore oil and gas leasing. Normally, there would be several new lease sales to petroleum companies in this plan, which could then pursue permits to drill for oil and gas in U.S. waters. What’s different this year is that President Biden vowed to offer no new leases for oil and gas drilling, and Oceana has pressed for a plan that does not include, and therefore would not allow, new leases to be sold.

The industry currently holds more than a thousand leases that it has not even used, so no new leasing doesn’t mean there would be no more drilling. There is enough area leased to support our fossil fuel needs into the next decade, and demand is expected to decline. So, standing by the pledge for no new leasing would be an important and clear signal that the U.S. takes seriously the need to shift away from fossil fuels and toward clean energy, which is the only way we can reduce the impacts of climate change.

Photo by Francesco Ungaro via Unsplash

LUX: What do you believe our oceans will look like in 10 years time?
JS: There is a big push right now to protect marine habitat through the development of marine protected areas. The goal is to protect 30% of ocean habitat by 2030. So, in 10 years we could see a much larger amount of our oceans being protected. If so, it will have a major impact on marine biodiversity. Marine protected areas, when well-managed, can not only provide a refuge for marine life, but also seed the surrounding waters, since fish and other animals don’t adhere to boundaries. The benefits of this movement toward protection will be felt beyond the boundaries of the protected areas, and in much more than 30% of the oceans. There is a caution here, because, without true protection, such as bans on bottom trawling and other non-selective gear, such protections could provide a false sense of success, without delivering the promise of abundant fisheries and healthy marine ecosystems.

Our oceans are facing diverse threats from climate change, overfishing, plastic pollution, and more. We know the solutions; it’s not rocket science. But to protect the oceans, we need public engagement to hold decision-makers accountable for making the right policy choices that ensure we have abundant fisheries continuing into the future, with healthy ecosystems free from pollution to support those fish and other important marine animals too.

Bell & Ross Watch BR 05 Green Gold Bracelet

Friends since the age of 15, Carlos Rossillo and Bruno Belamich founded Bell & Ross in the early 90’s. Despite stiff competition from centuries-old watchmakers, they have succeeded in leaving their mark on the industry. LUX speaks to CEO Carlos Rossillo about how they made sure to stand out.

LUX: Can you share the story behind the inception of Bell & Ross watches?
Carlos Rosillo: Bell & Ross is the union of two childhood friends, Bruno Belamich and myself. We have known each other since school and are both passionate about watchmaking.

Bruno proposed to me to go on an adventure with him to create our watch brand. After this, it was thanks to exceptional encounters, a lot of work, and the right people that our brand is what it is today.

Bell & Ross CEO, Carlos Rosillo

LUX: The brand is relatively modern compared to other major players in the luxury watch market. In the early stages, was it challenging to establish Bell & Ross as a leading brand because of its newness?
CR: It is true that 30 years for a watch brand is young, but for any company it is a good age. Over the years, we have been able to impose ourselves and prove our legitimacy for several reasons.

First of all, we have a very strong identity; you can easily recognize a Bell & Ross, thanks to our design and unique shape. As a result, we have icons that are anchored in our history, starting with the BR 03. We have shown that we know how to evolve and diversify with the BR 05. Since 2022, with the BR-X5, we have made waves in our manufacturing, thanks to our partnership with Kenissi. These evolutions have enabled our company to impose itself in the watchmaking world.

LUX: Bell & Ross watches are often associated with aviation and military influences. Could you elaborate on the inspiration behind this?
CR: When we first started the brand, Helmut Sinn challenged Bruno by telling him to transpose the cockpit clock of a jet to the wrist to make a watch. Bruno and I are both passionate about aviation and the military world, and this universe has always been our inspiration.

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LUX: Can you tell us more about the core values behind Bell & Ross?
CR: The fundamental values of the House are transcribed in the logo with this ampersand. We are convinced that it is by surrounding ourselves with the right people that we succeed, so the union of competences is our driving force. Every department of our company, from the watchmakers to the logistics teams, are essential to make the Maison work.

Bell & Ross Watch BR 05 Green Gold Bracelet

LUX: What would you say are the key challenges facing the luxury watch industry at the moment?
CR: Production issues have increased a lot since the COVID crisis; productions have slowed down, and this is the main problem for everyone in the watch industry.

LUX: Would you say the tastes of the new generation are changing when it comes to luxury, and to watches in particular? Why or why not?
CR: Tastes change and evolve with time. Nowadays, the young generations are used to instantaneousness and have developed weariness towards more traditional products. So it is essential to differentiate ourselves. We notice that the young generation are more and more interested in strong pieces that do not look like your usual classic watch.

LUX: Do you see traditional watches like those of Bell & Ross having to compete with smartwatches in today’s industry? How do you address this?
CR: We do not address this issue because we don’t believe it concerns us. Customers who are looking for a Bell & Ross are not interested in smartwatches, and vice versa.

Bell & Ross BR 03-93 GMT

LUX: What is the role of storytelling in the industry? How do you create a compelling narrative around each of your pieces?
CR: Storytelling is essential in the launch of each of our pieces, in order to build a universe around the new collection. For each watch, we create a storytelling around the usefulness of the watch because, for us, function creates form.

LUX: Can you tell us more about the three new pieces released by Bell & Ross at this year’s Watches and Wonders fair?
CR: Our three novelties are the BR 03-93 GMT BLUE, the BR 03-92 DIVER WHITE BRONZE, and the BR 05 GREEN GOLD. For this special launch, we decided to reveal 3 watches that belong to different family collections; it made sense for us to show the diversity of our products.

The BR 03-93 GMT BLUE is the natural evolution of our BR 03-93 GMT, which was originally red and black. We also presented a limited edition new diver, very elegant and chic and, finally, the new BR 05, an exceptional piece all in gold. This is a real jewel which succeed the BR 05 Blue Gold.

Bell & Ross BR 03-92 Diver White Bronze

Read more: Parmigiani Fleurier CEO Guido Terrini on Horology and the Art of Luxury

LUX: Can you tell us about your partnership with Alpine F1 TEAM and how this speaks to the Bell & Ross brand?
CR: Our partnership with Alpine F1 TEAM is a great pride for the Maison. Through this partnership we are promoting a French brand but also equipping extreme professionals in the toughest and most prestigious motorsport in the world. As in each of our very carefully selected partnerships, we share the values of excellence and teamwork.

LUX: Looking forward, what key changes do you predict taking place within the luxury watch market within the next 10 years?
CR: I predict there will be a double effect with concentration from one side of the industry, and at the same time a number of independent watchmakers who will stand out in the rocketing price complications with very limited production.

Images courtesy of Bell & Ross

Find out more: www.bellandross.com

Ferrari Roma

In the second part of our Super Powers series from the Spring/Summer 2023 issue, LUX’s car reviewer gets behind the wheel of a Ferrari Roma

Creating an association with Roma from the Ferrari brand is an idea so obvious it is surprising the company hasn’t done it before. The company has made cars named after California, the chic Italian port of Portofino and its hometown of Maranello. But never Rome.

So what kind of car could we expect from the Ferrari Roma? Looking at the exterior in the first instance, we though the sweeping, long, elegant design fitted quite well with the Dolce Vita image of Rome that the company would evidently like to project. With its long nose and contemporary curves, and the swept-back nature of the cockpit, the Roma looks like a classic grand tourer, updated for now. It is also one of the prettier Ferraris of recent years.

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Inside, this quality is both amplified and somewhat dissipated. It is amplified by the view our over the bonnet, where buttresses on either side help you aim the car for a long distance, touring in mind. It is dissipated because the interior, while bristling with electronic gizmos, does not have the classiness of Ferraris of old, or the sheer razzmatazz of some of the Roma’s current Ferrari siblings. True, the controls in the centre console do mimic the gated manual gearboxes of older Ferraris, but the rest of it feels up to date without being particularly glamorous. This is not a Ferrari that comes dripping in leather, although there was a generous amount of Alcantara, the mock suede favoured by many sports cars, in evidence.

Combining a classic grand-tourer sweep with a hyper-responsive dynamic drive, the Ferrari Roma makes for a particularly intriguing new model

However, as soon as you start driving it, any impression that the Roma is a slightly laid-back but high-performance grand tourer quickly goes out of the window as fast as the rubber on the tyres touches the tarmac (the tyres were Pirelli P Zeros in our case, which do not do the car’s handling justice). This is a car with a focus on raciness, not refinement. The steering is super sharp, almost hyperactive. The accelerator responds if you even think about touching it. On a country road it is highly engaging, around sharp bends it feels both enormously capable and highly entertaining. This is a car that involves the driver for every second, and is rather surprising because of it.

Why? Because many very fast and expensive cars – Ferraris among them – have become more and more remote, even as they become more and more capable, in recent years. A feeling that you are driving a video game has become prevalent.

Read more: Lamborghini Huracán STO Review

But not in the Roma. Here you know you are driving a very fast contemporary Ferrari, even along a country lane at normal speeds. The car feeds back to you thought a concoction of noises and feelings – not that it is noisy – but the Roma is not a car designed with comfort in mind. It has enormous performance and dynamism, and tiny back seats, which are useful for shopping. Altogether, it is an intriguing addition to the Ferrari model line, the first of what may be a new dynasty of cars.

Most Ferraris to date have a lineage dating back through decades of predecessors, but the Roma is a new concept. We found it highly entertaining, but also wonder if it is just a little bit too focused on involvement. A more relaxed side to its character might have fitted everyday use a little more, particularly given that its shape is more that of a day-to-day elegant sports car than something you want to go and thrash. But nobody can doubt this car’s ability and excitement factor.

LUX Rating: 18.5/20

Find out more: ferrari.com

The Syväysjoki peatlands within the Koitajoki Basin, Finland. Peatlands like this have been damaged through drainage, peat-mining, and planting for commercial forestry © Mika Honkalinna/Snowchange.

Financier, philanthropist and environmentalist Ben Goldsmith explains how environmental conservation became such an important aspect of his life and why it should be at the forefront of all philanthropists’ agendas

I am lucky enough to be raising a family on a former dairy farm in an area of low agricultural productivity, in South Somerset’s Selwood Forest. Until the Victorian era, a great mosaic woodland stretched across this landscape, from Bath to Wells and down to Frome. This was a landscape of extraordinary natural abundance and vibrancy, in large part on account of the grazing, browsing, rootling and dung of the free-roaming hardy pigs and horned cattle that were turned out by villagers into the forest. These were of course proxies for the wild boar and aurochs of an even earlier age, keystones of the forest ecosystem.

Solent Seagrass Champions restoring seagrass meadows on the Isle of Wight © Hampshire and Isle of Wight Wildlife Trusts/Blue Marine Foundation

Recently, alongside two neighbours, we decided to set about reviving the lost woodland. We tore out fencing, switched to native cattle in far lower numbers, rewiggled streams and revived ghost ponds. As the field shapes have begun to dissolve into the landscape, and little patches of crab apple, hawthorn and willow have begun to emerge everywhere, the results have been both startling and magical.

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Life has poured back in; the birdsong in spring is at times overwhelming in its intensity, a string of dammed pools created by beavers along the bottom of the valley now abounds with amphibians and dragonflies, the open areas are a riot of wildflowers and tiny chirruping crickets. By comparison, the surrounding landscape seems silent, drained of colour.

A baby Hawksbill sea turtle in White Sands, Canash Beach, St.Vincent. Photo by Stephan Hornsey

Immersing myself in this transformation has brought me a greater sense of joy and meaning than anything I’ve done in my life. The natural fabric of the world, in other words that vast life support system on which we depend utterly for everything we have and everything we do, is quite simply blinking out all around us. And yet, here in Selwood, I have seen first-hand that nature rebounds with astonishing intensity and speed. All we need to do is give it the chance. In the grand scheme of things, this is not expensive to do. So why are philanthropists, large and small, not grabbing the opportunity to participate in a movement that is at the same time so vital and so rewarding? Owning land is a niche privilege which appeals to some; but participating in the restoration of nature need not be.

The critically endangered monk seal. In Turkey the project is establishing marine protected areas along 500 km of coastline. Artificial nesting platforms have been constructed, which are increasing the monk seal’s breeding success © Fauna & Flora

Just 3% or so of all the money given away philanthropically is directed towards the protection and restoration of the natural environment. Almost ten times as much is given to the arts. Happily though, modest amounts of environmental philanthropy, well directed, is capable of catalysing great change. Lisbet Rausing’s marvellous Arcadia Fund has created an Endangered Landscapes Programme, which dishes out grants of up to €5 million towards the long-term restoration and protection of Europe’s largest remaining intact landscapes. The money is geared towards piecing ecosystems back together, reintroducing missing species, and perhaps most importantly, establishing long-term local prosperity arising from richly abundant nature. It works. Great swathes of Europe are coming back to life as a result of this one programme.

Questelles beach, St.Vincent successfully hatched hawksbill nests in 2022. Photo by Stephan Hornsey

Sir Christopher Hohn’s Children’s Investment Fund Foundation has made huge contributions to the Foundation for International Litigation on the Environment, as well as underwriting the spectacular growth of Client Earth. These two organisations are using the law all across the world to win key environmental battles on everything from air pollution in cities to the protection of old growth forests. Each successful case sets a precedent which makes the cost of trashing nature that much higher for companies or governments which might be tempted. This is game-changing work.

Reintroduction of large herbivores in the Danube Delta, including König horses, is restoring dynamic ecological processes in the floodplain © Andrey Nekrasov/Rewilding Ukraine

Meanwhile, the big idea of Conservation Collective, which I chair, is that people are far more likely to give their time and money towards restoring nature in the place that they love. There are now twenty locally-focused Conservation Collective foundations across the world, from Barbados to the Balearic Islands, Devon to the Dalmatian Coast. Each one of these is comprised of a dozen or more supporters who give in the thousands rather than the millions, their money strategically distributed to the most effective grassroots restoration and activist initiatives in the place that is closest to their own heart.

Read more: Kering’s Marie-Claire Daveu on the future of sustainability

Vultures are recovering from near extinction in Cyprus, new forest corridors in Sri Lanka are enabling leopards to move between protected areas and the ban on killing sea turtles in St Vincent and the Grenadines is being enforced by local monitors. The network is growing beyond our wildest imaginings, because playing a part in the dramatic recovery of nature is hugely appealing, and ultimately addictive.

One of Wilpattu National Park’s dominant male leopards, the Kumbuk Villa Male, doing his morning rounds. Photo by Yanik Tissera

Every important victory that has been secured, from the saving of the whales in the 1970s to the turning of the tide on the destruction of the ozone layer in the 1990s, has happened because of small groups of passionate, brilliant people – supported by the generosity of philanthropists large and small. Giving a small amount each month to one of these organisations is a meaningful, radical and powerfully rewarding act, one which far too few people in our society have discovered.

Ben Goldsmith and his family

The three most effective things any one of us can do towards fixing this, the mother of all issues, and moving our civilisation into a new age of harmony with nature are: to vote with nature in mind; to buy stuff mindfully; and to choose a nature organisation to support with whatever regular amount you can afford. Once you start, you won’t stop. And when your children or grandchildren one day ask you what role you played in all of this, you’ll have an answer for them.

Find out more: conservation-collective.org

Lucrezia Grazioli’s design on the runway

Istituto Marangoni unveiled the collections of its ten most outstanding designers in their graduate showcase this month. Trudy Ross spoke to School Director Valérie Berdah Levy and Designer of the Year Hyun Jik Yoo on sustainability, creativity, and digital fashion

If you were anywhere near Pennington Street last Tuesday 11th of July, you would have caught sight of a number of impeccably dressed young people, formidable in dark glasses, loose bold cuts and striking accessories, walking the streets of East London. There would be no need to ask where they were going.

Unit 2, 110 Pennington Street, E1, was buzzing with the sexy and stylish milieu of London in anticipation of Istituto Marangoni’s graduate showcase. The large queue was slowly brought into the dark, industrial chic venue, lit by huge digital screens and pumping with music, to await the uniquely ‘phygital’ fashion show, also being streamed live in the Metaverse.

Natalie Kabelacova’s design on the ruway

Ten students from the renowned fashion school were chosen to have their collections debuted to the audience, with each creating six designs engaging with the theme DISTORT/DISRUPT. The chosen few, all with their own unique style, were Angelynne Viorenique Andersen, Anna Savchenko, Giju Kim, Hammotal Blair Hen, Hyun Jik Yoo, Jiaxi Zhuang, Lucrezia Grazioli, Natálie Kabeláčová, Rudraksh Singh, and Ummehani Kanchwala.

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As the models, prepped and preened by The London Academy of Freelance Makeup and Unite Haircare, walked the runway, the walls behind them projected digital interpretations of the designs they wore, featuring shots and videos of the models edited into colourful and dramatic landscapes. This, compounded by the sea of mobile phones snapping and streaming the event, marked a clear step into the realm of the digital experience, even in the physical space of the show.

Design from Anna Savchenko’s ‘Not Broken’ collection

When asked about the future of digital fashion, Director of the Istituto Marangoni London Valérie Berdah Levy told LUX: “…the Metaverse is the future. We started having fashion shows on the Metaverse just two years ago. We opened the school in Dubai last year and we had the first show on the Metaverse; it’s definitely the future for this. Even at school level, shortly we will have classes on the Metaverse and in the Metaverse.”

Angelynne Andersen walking the catwalk alongside a model wearing her design

The show also engaged with sustainability and responsible fashion, with Anna Savchenko from Russia using paper as the primary material in her designs, while Czech student Natálie Kabeláčová used only sustainable fabrics in her sherpa-inspired designs, and Angelynne Viorenique used scrap fabrics and yarns from the university to create her colourful and extravagant collection ‘Shedding’. The Istituto is introducing a new MA in Responsible Fashion this October; Valérie Berdah Levy noted the importance of teaching students to be both responsible and creative.

One of Designer of the Year, Hyun Jik Yoo’s designs

The winner of the Designer of the Year Award was announced as Hyun Jik Yoo, who completed a lap of the catwalk to roaring applause, accompanied by the model wearing his favourite design. His dramatic, brooding collection was inspired by Jack the Ripper, the East London murderer who Hyun Jik told us has lived near his home in Whitechapel, not far from the show’s venue. He explained that he was playing with ideas of concealing and revealing in his designs to speak to the murderer’s desire to be known and feared, while also hidden and anonymous. This translated into the use of sheer fabric and rips in his designs, working alongside thick layers and dark hoods.

Read more: Kering’s Marie-Claire Daveu on the Future of Sustainability

Hyun Jik Yoo walking the catwalk after being announced as Designer of the Year

Hyun Jik shyly told LUX that he was “really proud” of himself, and said his next steps were to rest up and then, “if I have a chance, if someone wants my brand name, I would like to set up my own brand.”

Find out more: www.istitutomarangoni.com