Ava Doherty reports on Tumi and McLaren’s collaboration on a limited-edition luggage collection titled ‘Unpack Tomorrow’, appreciating the history of the British motorsport brand through motorcar themed designs

The quintessentially English motorsport brand, McLaren, has paired with the travel and business manufacturer Tumi to produce unique limited edition travel pieces to commemorate McLaren’s 60th anniversary.

The collection was unveiled at the final event of the brand’s Spring 2023 campaign, ‘ Unpack Tomorrow’ which championed the Tumi crew member and McLaren Formula 1 driver Lando Norris.

Tumi and McLaren’s commemorative partnership aims to combine fashion, technology and lifestyle. The brands aimed to highlight their shared ethos of functionality, modern design dialogue and a forward-facing outlook.

Goran Ozbolt, Chief Designer art McLaren Automotive commented, “This edition of luxury travel pieces also celebrates our founder Bruce McLaren’s passion for looking to the future, pushing the boundaries, and matching effortless functionality with a modern design language that reflects the ethos of both companies.”

New technology incorporated into their design process includes ultra-durable Tegris composite material, flexible CFX carbon fibre accents, and the integrated USB charger of the Velocity Backpack.

Tumi aims to further globalise its partnership with McLaren with an international content series at key Grand Prix races featuring influencers, community engagement and exclusive prizes.

Tumi’s Creative Director, Victor Sanz said, “We are thrilled to have collaborated on this collection with McLaren, utilising their famous papaya colour and combining modern, lightweight materials to create luggage, bags and accessories that celebrate their 60th anniversary.”

Find out more: tumi.com/McLarenCollection

Red Dahlias by Cig Harvey

Graham Nash, of legendary music trio Crosby Stills and Nash, is a major collector of modern photography. As this year’s Photo London fair gets underway, we speak with Nash, curator and gallerist Camilla Grimaldi, and a photographer being exhibited at the fair, Sam Wright

The Collector: Graham Nash

Graham Nash is a legendary musician, songwriter, and photographer. His artistic talents have captivated audiences for decades as a founding member of iconic bands such as The Hollies and Crosby, Stills & Nash. However, Nash’s creative pursuits extend beyond music. He is also an avid photographer with a deep passion for the craft and an extensive collection.

LUX: What was it that made you begin collecting art?
Graham Nash: We were a poor family from the North of England and never had an image on a wall. Eric Burdon from the Animals turned me on to M.C.Escher in the mid sixties and I truly love Eschers’ work. When I was economically well off I began to collect Escher. His work and the work of Diane Arbus, whos’ images astound me to this day started my journey of surrounding myself with great work.

Two Pears by
Paul Caponigro

LUX: Can you tell us about a piece in your collection that has influenced your music?
GN: I find an interesting correlation between music and photography. To me, the world is made up of vibrations and I can sense that when I look at “Moonrise over Hernandez” by Ansel Adams, I can really feel the bushes and vegetation in the dark areas of the image and I ‘hear’ the cellos and the double bases, then I can imagine violins and violas in the soft, light cloud areas of the print I owned.

LUX: Have you ever regretted selling a piece?
GN: No, When I learn all that an image teaches me then I can let it go.

Mountain Tree, Study 1, Danyang, Chungcheonbukdo by Michael Kenna

LUX: What makes photography as a medium special?
GN: From the very beginning of humanity capturing images to the present day, great photography can show us, and the world around us, that we are indeed all interrelated in some sense, that we have to leave some sense of ourselves of having ‘been here’. From the first time that a human outlined a hand by blowing a coloured powder onto it on a wall somewhere back in the beginnings of self-expression to the images of today, photography reigns supreme.

LUX: What was your first ever camera and what do you use now? Do you think that new technology has changed your approach to the art over time?
GN: The camera that was given to me by my father was a vintage Agva. I don’t really care what instrument I’m using, I only care about what it sees. I’ve used everything from a Disney camera to 4×5’s or even an iPhone.

Beachwalker by Jeffrey Conley

LUX: As someone who collects originals, how do you feel about the way art and photography have become so readily available online?
GN: It could be said that the ‘immediate’ availability of being able to buy images online signals an interesting future. There’s a wonderful feeling holding an original masterpiece and I’ve been incredibly lucky in my journey of collecting and making art.

Yoji Yamamoto by Sarah Moon

LUX: You’ve said before that you only sell pieces when you have taken all the inspiration from them that you can. Is there a piece you would never sell?
GN: I was in a gallery in Los Angeles owned and run by Jake Zeitlin and I found an image of Marilyn Monroe taken when she was a teenager. It’s a lovely candid moment and one that I treasure. It was $20. I’ve sold images in the many thousands but you can’t get this image out of my hands.

The Gallerist: Camilla Grimaldi

Camilla Grimaldi has been a curator, gallerist and international art advisor for over 20 years. She began her career at institutions including Christie’s New York contemporary art department, the Guggenheim, Venice and White Cube, London. In 2004, Grimaldi co-founded Brancolini Grimaldi, a contemporary photography gallery. Now an independent entity, the Camilla Grimaldi Gallery currently works with emerging and established international artists with a strong focus on contemporary photography.

LUX: How did your upbringing shape your relationship with art?
Camilla Grimaldi: I think an influential person in shaping my relationship with art has been my father, who started collecting contemporary art, particularly post-war art, when I was very young. My earliest memory of art is from my childhood at around the age of five. My father would take me to school in the morning and, before dropping me off, he would stop in the old centre of Rome and select a visit to a different baroque church each time. We went in to admire the masterpieces of Caravaggio, Michelangelo, Bernini, and Borromini, and I remember that I was literally petrified by the beauty and grandeur of these stunning paintings and sculptures. It became clear from that moment onwards that art would have to be a part of my life.

LUX: Why do you think you are drawn to photography as a medium?
CG: Photography started as a passion in my early 20’s. I really loved fashion photography and vintage photography from Henri Cartier-Bresson, Frank Horvat and Robert Doisneau. The American photographers have also deeply shaped my vision as I admired how they used colour and depicted the US in such real and sometimes crude ways, like the greats such as William Eggleston, Stephen Shore and Mitch Epstein. In the past 20 years, the German school of Photography led by Thomas Ruff and Andreas Gursky has shaped the intellectual connection I feel to contemporary photography. The methodological approach in blurring the notion of what documenting our society really looks like and developing new conceptual frameworks with which to decipher the captured subjects and spaces.

A huge influence has also been African and Italian photography. In both instances, it is marvellous to observe their ability in developing new ways of capturing space, light, and how they portray the gaze of their subjects. In recent years I’ve been truly enjoying my work in discovering young photographers that use the medium in different ways, from installations that become three dimensional, to the use of already existing photographs combined through an archival study or books and magazines, and the use of negatives in particular and manipulated ways.

Untitled View 2014 by Goldschmied & Chiari

LUX: Everyone has a camera these days, almost everyone can market themselves as an amateur photographer. As someone who works with emerging photographers, how do you differentiate the very talented but unrecognised few from just another person with a smartphone?
CG: In my opinion, what differentiates a talented photographer from a content creator is the idea, intention, and research behind the work. It isn’t necessarily important if a smartphone or a certain type of camera was used for the final outcome. The power and strength of the photograph is determined by various technical and cultural factors, yet what I truly believe makes a work of art is the message it entails, and how this message is delivered to the world.

LUX: If you had to pick one or two photographers, who would you say are the ones to watch right now, and why?
CG: We can’t escape looking at some of the pillars of the contemporary photography scene like Thomas Struth or Andreas Gursky, and Wolfgang Tillmans who continue to experiment with the medium by breaking the boundaries of where photography sits within various artistic contexts.

In terms of the Italian scene, the duo Sara Goldschmied and Eleonora Chiari have developed a painterly approach which evolves into a three-dimensional space using a unique technique by printing the photograph directly on mirrored glass. Domingo Milella’s traditional landscape photography abstracts itself through a deep process of archeological and site specific research, whilst Massimo Listri’s architectural photographs entail a magnified and somewhat spiritual viewpoint, capturing cultural institutions we all know, but somehow obtaining an entirely different character inside his artworks.

Musei Vaticani XXI, Roma 2014 by Massimo Listri

Within the Italian emerging sector, the trio Sbagliato have been operating at the confines between street and contemporary art for the last 10 years. Their proposed alternative scenarios within urban contexts develop rifts in the architectural order and use these ruptures to create new and illusionary pathways.

LUX: How would you describe the relationship between artist and curator/gallerist? Is it largely a rewarding one, or do you find there can be friction or disappointment?
CG: My long experience in this area has taught me that the basis of a good work relationship is mutual respect. I have occupied various roles in my career, spanning from curator and art advisor to gallerist. But within all these multifaceted roles, the connection to the artist becomes the main driver of a success story. It truly becomes part of your life, as you transform into an advisor of life and work at 360 degrees. This type of relationship, built in time through trust, professionalism, effort, and friendship, has made it possible to still be in contact with all the artists that I’ve been working with for over 25 years. Of course there are moments where some misunderstandings can occur, but if you strongly believe in the artist and the work, everything can be solved.

Read more: Photo London’s Fariba Farshad on Fotografìa Maroma

LUX: What would your advice be to individuals looking to start an art collection?
CG: My advice is to be curious. Attending art fairs, biennials, museums and galleries, is the start to truly immersing oneself into the art world and doing research. Contact an art advisor that you trust and is capable of showing you around and helping you discover and understand your taste. Starting an art collection is something exciting, it gives you joy. Art becomes part of your everyday life and it elevates all sorts of feelings.

LUX: What is your personal philosophy on art as a gallerist, curator and advisor? Has it developed over time?
CG: Through my long professional experience in the art world, I now have various mixed feelings concerning it. As a gallerist it has been a big challenge for me especially when I opened the first contemporary photography gallery in Rome in 2005. The art market in Rome was based on an old school type of aesthetic, and surprisingly my gallery was a success story during a time in which photography was not yet considered a quality medium of contemporary art. That experience has been very demanding and very exciting at the same time. Today as a curator and advisor my situation is very different, and I am less constrained by these dynamics in the way I work. I can freely select the projects that I love and that I strongly believe in, and I have more time to research, study, and go on studio visits. I’m very lucky that I can choose the curatorial projects and the marvellous artists that I work with.

Total blu, 2022-2023 by Domingo Milella

Back when I was a gallerist, I started at a very young age so of course my notion on what art meant has changed over time. Back then my first approach was to develop my relationship with artists, it was all about sharing ideas and being part of the creative process of the artists. It was about creation and identity.

As a curator and art advisors now, I have more experience, and whilst my initial feelings have been kept intact, I now know how to contribute on a deeper level, culturally and strategically, helping my artists to rise within the contemporary art market.

The Photographer: Sam Wright

Sam Wright began his photography career photographing DIY punk gigs in pub basements and clubs in Sheffield. He went onto study at Newcastle School of Art and Design, and his work has now been recognised by respected awards and galleries including The NPG, D&AD Awards, Lürzer’s Archive, Creative Review, Its Nice That, Palm Studios and The AOP Awards.

LUX: What was your introduction to photography?
Sam Wright: My first experiences of photography centred around the Sheffield punk scene in a pub called The Cricketers Arms, where DIY punk gigs would be put on. It was a driving scene full of big characters and lots of energy. I found myself focusing more on the crowds, not just well as the bands. These early experiences allowed me to explore photography in an exciting environment, as well as inspiring a DIY ethos that the whole scene was built around. It was through that scene that I met Ben Goulder of New Dimension who published my new book “The City of the Sun”. Collaborating with New Dimension always feels like a perfect fit. Myself and Ben have a long history, not only creating publications together but growing up together and forming our views on the world through bands in the Sheffield punk scene. The tongue in cheek motto was always “DIY or Die” which to some extent still runs through both our approaches to creative work.

From the Welcome to Napoli series by Sam Wright

LUX: Tell us about your first ever camera, and how it compares to the camera you use most frequently now.
SW: My first camera was an early 2000’s digital point and shoot. It was limited in quality but the small size and low value meant I had it with me at all times.

I now shoot on a medium format film camera which is a very different tool. It is quite heavy which brings a slower way of shooting and the expense of film brings more consideration when choosing what to photograph. This camera has become a big influence on the way I shoot. The work in my new book was shot on this camera and brings an element of consideration to the work.

LUX: Your projects are often named or centred around a particular place – London, Seoul, Naples, your hometown of Sheffield. What role do geographic locations play in your work?
SW: Geography plays a huge role in my work and I think the same goes for a lot of photographers. For me, it provides a backdrop and narrative for the characters in my photos to live. It builds on the story that I am trying to invoke with my viewer.

Naples for example was the focus of my latest project and book, “The City of the Sun”. The work I shot there is an attempt to capture this character and attitude providing the viewer with a tangible glimpse into the city and the people that call Napoli home. I want the work to feel textural, invoke the senses and draw the viewer’s mind into the special feel of the city.

LUX: You often capture unique, striking individuals in your pictures. When you look at a person, what makes you want to photograph them?
SW: This is a tough question, but I guess I am drawn to people that have an interesting look from first view. I then often find that they live interesting lives and have a unique place in the world. Maybe this comes through in the way they look or hold themselves, but it’s hard to pinpoint.

From the Welcome to Napoli series by Sam Wright

LUX: Tell us about the way you use and capture light in your photography.
SW: Light is a very important part of my work and something that I am always very particular about throughout my work. It can totally change the feel and emotion of a shot and can provide depth, texture and magic to an image.

LUX: How has your stylistic approach developed throughout your career?
SW: My style has developed and changed a lot since I started my journey as a photographer. The core values and interests have remained the same but as I have learnt more about photography and light, I have shaped a style that feels representative of what I like aesthetically and how I view the world.

LUX: Which artists, photographers or otherwise, have influenced and inspired you the most?
SW: I draw inspiration for lots of different mediums. Cinema, music, everyday life, and also photography feed into my visual inspiration. I love how directors like Terrence Malick and Francis Ford Coppola use a camera to create their work. I have always loved classic American colour photographers such as Eggleston and Shore. I love how Chris Killip made art through everyday life and photographers like Tom Wood. The list could go on!

LUX: In your opinion, what is special about photography as a medium?
SW: I love the accessibility of photography. It’s available to almost everyone today and I think it is a brilliant way to express your creative drive. I love the way it gives you access and a reason to meet new people and experience new places, it provides purpose in exploring new communities and cultures.

LUX: Can a photo tell a story? If so, which of yours tells the best?
SW: Yes! I love the way a photo can tell a story, evoke an emotion or bring on a specific feeling – this is something that I strive to achieve throughout all my work. I love the way that the viewer becomes in control of the narrative with a photo and can take its cues to build their own perception of what they see and what the artist has set out to achieve.

From the Welcome to Napoli series by Sam Wright

In my new book there is a whole section of work shot around bays and city beaches that offer moments of calm and tranquillity; the chaos of the city is left behind but the energy is still high. I tried to capture the narratives and group dynamic of the individuals and tell the story of these unique areas of Italy.

Photo London, Somerset House, London, 11th-14th May 2023

Lexus Design Awards 2023 was presented in the Tortona district during Milan Design Week

Against the backdrop of the vibrant and bustling Milan Design Week, Lexus presented the four winners of their coveted annual Design Award, now in its 11th iteration. Trudy Ross visited Milan’s Superstudio Più to find out more

I was an awe-struck first-timer at Salone del Mobile this year, the world’s most prestigious and well-attended design fair. The city was brimming with life, with throngs of fashionably dressed professionals walking over clean, sunbaked streets, the city’s many restaurants and cafes full of old industry friends reuniting and the chatter of business meetings over fine wine. On every corner you were met with an eye-catching new installation, ready to become the venue for yet another glamorous party by the evening.

Follow LUX on Instagram: luxthemagazine

The Lexus Design Awards, presented in the Tortona district, was the perfect introduction to Salone, embodying the fair’s guiding principles of creativity, beauty, innovation, sustainability, and a focus on the potential of young designers. The competition was launched in 2013 by Lexus to give a platform to the next generation of designers. Displayed in the bright and airy Superstudio Più, the winning designs were accompanied by architect and artist Suchi Reddy’s immersive 3D collage, Shaped by Air, inspired by the Lexus Electrified Sport.

Reddy told LUX, “It all started from a drawing. I started finding these shapes that were very beautiful – I thought that if Matisse had designed a car, this would be the car…because we were inside, I had the opportunity to really play with reflection, and create this idea of a forest; you can see how the light dapples, creating shadows and unexpected things. There’s a richness to walking in a forest because you never know what shapes to expect – everything fits but it’s always different.”

Suchi Reddy with her installation, ‘Shaped by Air’

Her installation of glass and movement was the perfect intermingling of beauty, technology, and nature to reflect the winning designs, which used technology to look to the future and to create elegance, but also prioritised purpose, practicality and the natural world. While there is usually only one winner, this year the award was expanded to comprise four winners, all of whom were given an opportunity to work with Lexus’ handpicked mentors, four leading figures from the design world: Marjan van Aubel, Joe Doucet, Yuri Suzuki, and Sumayya Vally. A public vote was then held to determine the People’s Choice winner, the design which most impressed and resonated with viewers.

Swedish designer Pavels Hedström was announced as the Your Choice winner for his innovative design, Fog-X, a high-impact hiking jacket that transforms into a tent/shelter – but its real ingenuity is not shapeshifting. The device can catch fog, even in the most arid areas of the desert, and transform it into up to 10 litres a day of drinking water. Hedström told LUX that he has always been interested in solving the big global challenges. When it came to drinking water, he was inspired by plants and animal species which can survive in the Atacama desert. He found that one of the ways they do this is by catching fog, saying his design is “basically the same principle”.

Read more: Photo London’s Fariba Farshad on Fotografìa Maroma

While the jacket itself might not currently be affordable for many of the people living in desert communities with a lack of water, he championed the Fog-X app made alongside the jacket, which anyone can use to determine and track the areas with the most potential for moisture generation. He added, “privileged people like us take for granted that we have water on the tap. We need to rethink how we get these resources, because our relationship to nature is pretty imbalanced. If we use the jacket, I hope it will also change our mindsets and our appreciation of nature.”

Pavels Hedström, the Your Choice winner for his innovative design, Fog-X

The other designers included Temporary Office, a duo made up of Vincent Lai and Douglas Lee, who unveiled 3D topographic puzzle Touch the Valley. Designed with the visually impaired in mind, the puzzle allows people to play and learn through touch rather than sight, with each piece carefully contoured and sculpted to engage tactual sensation. When assembled, the pieces can become a model of a major mountain range or famous landmark. Beyond a tool for the visually impaired, the product can be enjoyed by all and double as an elegant coffee table piece with an interesting story to tell. Perfect for the explorer traveller who doesn’t just want to go to Yosemite, but wants to hold it in his hands.

Vincent Lai and Douglas Lee, founders of Temporary Office

Jiaming Lui from China designed the Print Clay Humidifier, a 3D-printed humidifier made with recycled ceramic waste. This household appliance requires zero electricity or energy and is made from materials left over from industrial processes. Indeed, the product itself can be recycled at the end of its life after any damage or breakages to reform as it was initially. Lui looked to natural resources to replace the plastic, energy-using devices many of us have in our homes and created a stylish, effective and sustainable alternative.

Jiaming Lui with his print clay humidifier design

Finally, and perhaps the most directly relevant to many of our own lives was Kyeongho Park and Yejin Heo’s Zero Bag, a new alternative to plastic packaging for food and clothes, made from seaweed. It looks like plastic, but rather than being an amalgamation of artificial chemicals, it actually fights them. The packaging dissolves in water and contains either a detergent for clothes, or a baking soda film which removes chemicals and pesticides from food. Kyeongho and Yejin, both currently students majoring in industrial design at Hanyang University’s ERICA campus, expressed hope for their idea to expand across regions and become adopted by major retailers.

Kyeongho Park and Yejin Heo with their Zero Bag design

The theme for this year’s competition was ‘Design for a Better Tomorrow’. If these young designers are any indication of what tomorrow might look like, it seems the future will make space for both technology and for nature, cultivating the beauty of both.

Find out more: discoverlexus.com/lexus-design-award-2023

3Sun Gigafactory opened in 2011

Eliano Russo is Head of Enel Green Power’s 3Sun Gigafactory in Catania. Here he speaks to Samantha Welsh about the way the factory works, its benefits on the local community and the clean energy transition

Eliano Russo

LUX: What is a photovoltaic cell and how does it work?
Eliano Russo: Solar cells are the heart of solar power generation systems. A photovoltaic cell is a device that can convert the energy of solar radiation into electricity through the photovoltaic (PV) effect. This effect is possible since photovoltaic cells are usually made of semiconductor materials (the most diffused is silicon), which have weakly bonded electrons. When the light of the sun hits the PV cell, the electrons of the semiconductor receive energy from the light’s photons and are then able to move. The movement of these electrons through the metallic contacts of the cell produces an electric current. PV cells are assembled into photovoltaic panels that find applications in several fields.

LUX: What are the peculiarities and advantages of the technology 3Sun offers?
ER: 3Sun offers cutting-edge technologies in solar cell and PV module (or panel) manufacturing. Our solar cells are based on bifacial silicon heterojunction (HJT) technology, which offers several advantages over the most widespread technologies on the market. Moreover, our PV modules are manufactured in Europe with sustainable materials derived from a regulated supply chain.

3Sun Gigafactory combines research and innovation to produce new-generation photovoltaic modules that support the Enel Group in guaranteeing clean and renewable energy

Continuous innovation in pursuit of the highest level of cell efficiency is a fundamental value as we strive to maximise the effective transformation of the sunlight that hits our panels into energy. HJT technology is characterised by high performing photovoltaic modules with low degradation and in early 2020 our HJT cell achieved a world record efficiency level of 24.63%.

The double-sided structure of the solar cell allows solar radiation to be captured via direct light on the upper surface, as well as reflected or diffused light on the lower side. “Bifaciality” also guarantees extra power output even with cloudy conditions where the amount of diffused light is quite high. The solar cell is also very resilient to thermomechanical stresses thanks to the temperature during the manufacturing process that does not exceed 200°C, which also allows for thinner solar cells to be manufactured, , thus reducing the use of silicon and cutting costs.

LUX: What are the benefits for the solar supply chain and the European energy sector in general?
ER: For Europe, the photovoltaic sector represents one of the main enabling technologies to accelerate a sustainable and competitive energy transition. To reach its decarbonisation goals, in Europe we need to achieve 600 GW of installed solar capacity by 2030, which requires building and installing an additional 440 GW. On the other hand, in order to increase the continent’s energy independence and reduce risks related to external geopolitical factors, it is important not to become overly dependent on supplies from other geographies.

Italy’s HJT Photovoltaic Panel

Today, a large part of the photovoltaic industry supply chain is still concentrated in the Asian market, especially in China, where there is also less emphasis on environmental, energy and labor standards compared to those in Europe. Therefore, the creation of a European photovoltaic industry that can guarantee our energy security and independence while upholding those standards represents a strategic priority. In order to achieve this, we must invest to reshore the solar PV supply chain in Europe as we did in Catania, Sicily with the construction of what will be the largest solar gigafactory on the continent.

LUX: What is the potential impact for local communities?
ER: One of the most important positive impacts for the local community as a result of the factory’s expansion is the employment opportunities for Sicily, increasing local direct and indirect employment. In 2022, 50 university graduates were employed, while the selection process for an additional 100 is currently underway, as well as the selection for hiring 550 secondary school graduates. With the new hires, who will fill technical and operational positions in areas such as production, maintenance, auxiliary services, product quality and plant operation, 3Sun’s team, which already includes more than 200 people, will reach about 900 people in total. In addition, 3Sun will also generate a total of 1,000 indirect jobs, including current ones, by 2024. . These numbers mean a lot in terms of employment for a territory like Sicily, especially for young people. In some cases this means young people who have had the opportunity to return home after years of working abroad, excited to be able to contribute to the realization of a project as important as this one.

Bifacial solar panel production at the 3SUN Factory

LUX: How essential is political collaboration to clean energy transition?
ER: It simply cannot be done without it. Our current climate policies are the direct consequence of a political commitment that we took together as Europeans and, more widely, as countries committed under the Paris Agreement. The challenge of climate change is global, it affects everyone, and the response can only be global. A strong, collective, political commitment is needed to tackle a problem of this magnitude. But the political commitment must also be matched in the private sector along with the actions of each and every one of us as individuals.

LUX: What is the role for regional partnerships in tech innovation?
ER: We will be the largest European PV factory, basing our manufacturing on the most advanced technology processes, materials, and design. We carried out a robust research and development phase in collaboration with the most important research institutes and development companies in Italy, Europe and the US. In fact, 3Sun has triggered the most advanced research consortium in Europe with renowned partners such as CEA-INES in Chambery (France), Italian Institutes such as IIT, CNR, ENEA, as well as European and Italian universities. The strict collaboration with the research centers is also witnessed by the presence of very advanced research labs within the industrial complex of 3Sun and in the nearby Enel Innovation Hub and Lab, which hosts research institutions and start-ups. The concentration of research institutes and industries in a few kilometers also encourages important exchanges and generates a very fruitful environment for the development of innovative ideas not only in the PV field. Beyond research collaborations we also work with a wide range of subcontractors in the supply chain of strategic and innovative materials as well as of advanced industrial support and maintenance processes.

The first HJT cells were produced in February 2019 and mass production began in August 2019

LUX: Please share the aims of Project TANGO
ER: TANGO is the acronym for iTaliAN pv Giga factOry, the name of the project through which we are creating an industrial-scale production facility for the manufacturing of innovative, sustainable and high-performance PV modules at Enel Green Power’s 3Sun solar panel factory in Catania. In April 2022, under the framework of the European Commission’s (EC) first Innovation Fund call for large-scale projects, EGP and the EU signed a grant agreement that contributed to the development of TANGO, a facility that will have a production capacity of 3 GW per year by mid-2024. Of our total investment of around 600 million euros, the EC has contributed up to 118 million euros and around 70 million euros came from the Italian National Resilience and Recovery Plan.

LUX: How is the 3Sun Gigafactory in Catania innovating to leading the transition to green energy?
ER: Our production capacity of 3 GW, which we will reach in 2024, will make us the largest production facility in the photovoltaic industry in Europe. However, our contribution to the energy transition is not only quantitative but also qualitative. The values that guide us are innovation and sustainability, two pillars that enable us to create a high quality product made in Europe.

3Sun Gigafactory represents a model that could be used all over the globe

LUX: Can you accelerate performance to be sure of meeting targets?
ER: We won’t ever stop innovating. The architecture of the 3Sun HJT solar cell is highly compatible with the so-called Tandem structure in which a perovskite top cell is coupled with a silicon bottom cell, the top cell utilises the blue component of the solar spectrum and transmits the red component to the silicon solar cells. The 3Sun tandem structure, that we call “Tango Technology”, allows the solar cell to reach higher efficiencies, well above the theoretical limits of silicon solar cells. 3Sun is developing innovative technology with the aim of increasing solar cell efficiency, achieving more than 30%.

LUX: Longer term, how do you see 3Sun Gigafactory model developing?
ER: 3Sun Gigafactory represents a model that could be replicated elsewhere in Italy, Europe and other parts of the world. As outlined previously, in order to accelerate the energy transition and ensure energy independence and security in Europe, it is necessary to build a European ecosystem of highly efficient solar PV module manufacturing.

Find out more: enelgreenpower.com/3SUN-factory

Matthew Krishanu with Riverboat, in 2021. Photograph by Jean-Noël Schramm

British-Indian artist Matthew Krishanu’s paintings offer a nuanced exploration of cultural identity, memory, and personal experience. LUX looks at his works and career through an autobiographical lens

Matthew Krishanu was born in Bradford, England to an Indian mother and a white English father, before moving to Bangladesh where he spent 11 years of his childhood, returning to the UK at age 12. The experience of growing up between two cultures has had a profound impact on his work, which often reflects on the tensions and complexities of cultural identity.

Archers, 2021, part of the Durjoy Bangladesh Foundation. Photograph by Peter Mallet

His figurative paintings have a distinctive flatness, compounded by the use of vivid, block colours and ambiguous, even distant, facial expressions. He explores themes of family and grief, religion and race, childhood and memory, with many of his paintings representing his early years in Bangladesh.

For one of his most famous shows, ‘Another Country’ (2014) at the Nunnery Gallery in London, Krishanu worked from old photographs, and his own memories and imagination to reconstruct images from his childhood. The viewer is transported not only to another continent, but to another time, entering the artist’s personal past, remembered landscapes, moments, his relationship with his older brother.

Two Boys on Rocks, 2022, from the series Another Country. Photograph by Peter Mallet

When the artist was asked where feels most like home to him, the UK or Bangladesh, Krishanu responded, ““I have lived in England for over three decades, and London in particular feels like home now. However, the world of the ‘two boys’ (Bangladesh and India) feels like home to them – the places I paint are the home of my childhood.”

Safari 2021, part of the the Durjoy Bangladesh Foundation. Photography by Peter Mallet

In other works, Krishanu explores faith and religion and this way in which they relate to race and colonial history, a key part of his own personal experience as the son of a Christian missionary in South Asia. Paintings such as “Ordination” (2017) observe unsettling power dynamics relating to complex religious politics of Bangladesh, while in his contribution to Southbank’s ‘Everyday Heroes’ exhibition (2020), he pays tribute to the faith workers from different races and religions and their contributions to their communities during the COVID-19 pandemic.

Ordination, 2017, from the series Mission. Photograph by Peter Mallet

In 2021, he exhibited ‘In Sickness and Health’ at Leamington Spa Art Gallery and Museum, a series of profoundly intimate paintings, including several of his late wife at different moments throughout their relationship, and his daughter as a newborn baby. In one painting his wife appears bright-eyed in a wedding dress, while in others she is receiving hospital treatment towards the end of her life. The series acts as a quiet and calm, yet deeply emotional study of not just grief and loss, but the vulnerability and changeability of the human body.

Krishanu explains, “I am interested in how one’s emotional connection to a subject can be communicated in the paint handling, colour, atmosphere and feeling of a painting. It’s something I look for in painters I love – and I feel creates a point of entry for the viewer.”

In Sickness and in Health, Mead Gallery, 2022. Photograph by Ed Florance

The artist graduated from the University of Exeter with a BA in Fine Art and English Literature and went on to complete a master’s degree in Fine Art at Central Saint Martins in 2009. Since then, he has exhibited his work in solo and group shows across the UK and internationally, including shows in India, China, Pakistan, Germany and the US.

Read more: Sam Dalrymple and Durjoy Rahman On Cultural Reconnections Post-Partition

His work is included in numerous major collections, including the Arts Council Collection, Birmingham Museum and Art Gallery, Government Art Collection UK, Komechak Art Gallery and the Kiran Nadar Museum of Art..

Four Children (Verandah), 2022, from the series Expatriates. Photograph by Peter Mallet

Krishanu continues to invite his readers to share in the rich narratives of his personal and cultural history, as well as their own. His first trade monography was published in March 2023 and features a selection of his works, including ‘Another Country’, ‘Expatriates’, ‘Mission’, ‘House of God’, ‘Religious Workers’ and ‘In Sickness and In Health’.

Find out more:

matthewkrishanu.com

casematepublishing.co.uk/matthew-krishanu.html

This article was published in association with the Durjoy Bangladesh Foundation

Estenopeica Digital I by Javier Hinojosa, 2022

Fariba Farshad is co-founder of Photo London which since its inception eight years ago has become one of the most respected photography fairs in the world. This year’s edition is the strongest yet with 125 exhibitors from 56 countries worldwide and a sponsorship portfolio that includes the Royal Bank of Canada as Principal Partners and Belmond as Presenting Partners.  Here, Farshad speaks to LUX about the future of the fair and her latest curation project, Fotografìa Maroma- an exhibition commissioned to  capture the environmental beauty of the Riviera Maya in Mexico where Maroma, A Belmond Hotel, will reopen later this year

Fariba Farshad © Laura Pannack

LUX: How did the Fotografía Maroma project come about?
Fariba Farshad: I was asked to curate a show featuring a group of important Mexican artists. I was delighted to be asked, but at the same time a little challenged  by the idea. I understand and love Mexican photography. It has a rich photographic tradition and is an increasingly important   market for contemporary photography with a lot of good artists who are represented internationally by important galleries – but for me to visit and work with a culture that I don’t come from myself was a big undertaking. So it  was great to be able to collaborate with Patricia Conde who has one of the most known photography galleries in Mexico.

Between us we selected four artists: two very established artists, one who had been working in very different industries including advertising and one young emerging photographer. We asked them to travel to Maroma, to Riviera Maya, and develop their own artistic responses to the wild beauty of the pristine Mayan environment. As for the images, the brief was completely open. Moreover, they were only given two weeks to work in the area and to work with the natural surroundings. It was not necessarily the best time of year – not exactly ‘beach weather’, which was interesting because most of the time the weather there is fantastic! Of course, it was a professional assignment, not a holiday. They were supported by a fixer and the hotel, and they were free to work wherever and however their inspiration took them.

Horizonte I by Margot Kalach, 2022

LUX: What do you find particularly interesting about the Rivera Maya?
FF: What is particularly interesting is that the four artists found themselves in a wild and unusual working environment. Not at all in their comfort zone. Patricia Lagarde, for example, is very much an established artis whose practice is studio based. Asking her to work in a different, even awkward state was a very interesting challenge for us and for her. All of them were the same in a way, like Patricia, they were mostly studio-based. Javier Hinojosa, is a highly regarded artist whose studio- made portraits in black and white justly famous, He was sent to work in the wilderness and we were fascinated to see what he came back with. The same was true of Ilan Rabchinskey who says of his minimalist studio practice ‘My aspiration is to achieve simplicity’ For him working with nature meant ‘managing uncontrollable factors’. The result was a series of, creating 3D objects allowing the beautiful natural light of the place to create a play of shadows and then photographing the results. The final member of the group was a talented emerging artist Margot Kalach, who was interested in working with light to create digital artworks.

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The other interesting aspect was the time frame. It was the first time that I have worked with artists and commissioned new work with such an intense deadline. I actually think the reason it worked so well was because they didn’t have too much time to edit the result, and therefore it was very continuous and very creative. I am really delighted by the result.

Trapping the Moon by Patricia Lagarde, 2022

LUX: What did the artists create?
FF: Patricia ended up capturing the moon by spreading a piece of white cloth and taking the photo of that reflection, and then hanging it in the wind before photographing it again. It was a performance installation piece in photography; fantastic and totally different to anything she’s done before.

Javier took these amazing photographs of the waves in one series and plants in another He then deconstructed the images and reassembled them into grids of eight pieces and in doing so created a completely new image. I found his process fascinating. He used his iPhone on the water, creating a pinhole with his phone, and used all sorts of experimental ways of dealing with technology, different cameras as well as the phone to create new images. He had not worked this way before this commission.

Drift and Direction from A Vessel for the Sun by Ilán Rabchinskey, 2022

Ilán took 3D objects from his studio to the beach and positioned them, waiting for one set of shadows to be created by the wind, the water, and the beach, letting nature take over the process of painting with light.

I was really excited to see what Margot, would come up with using digital technology. In fact, she chose to create a pinhole camera using a paintbox. She basically turned her bathroom into a darkroom, and the result was absolutely amazing: the sort of large print that uses the depths and the dreamy capture of the water. She totally went for very early technology rather than pursuing her in-studio high-tech approach. It was fascinating and she absolutely loved it. I think it is going to have a very long lasting effect on her work.

Fotografia Maroma, the show they made together, opened at Art Basel Miami Beach in the design district in December, then went to Mexico during Zona Macao, and is now coming to Photo London.

A Particle, A Wave from A Vessel for the Sun by Ilán Rabchinskey, 2022

LUX: This year’s Photo London has seen a significant evolution and in fact a couple of significant new partners and sponsors. Could talk us through that?
FF: Photo London 2023 is our 8th edition. It has grown stronger with each passing year. Even when the pandemic hit in 2020 when we were two months out from the Fair, we took the opportunity to develop our Academy programme of talks and launch a successful online magazine (now in its 100th edition) and ran a fantastic and very successful online Fair in September 2020. Our partnership with Nikon was sealed during the pandemic and we took that to be an important endorsement of the strength of Photo London.

This year we have three new partners: Hahnemuhle came on board earlier in the year and with them we launched a new Photo London Hahnemuhle student award; we just released the shortlist for this. We are also continuing our Emerging Photographer of the Year Award with Nikon. Belmond have come on board as Presenting Partner having successfully partnered with us on Fotografía Maroma. And finally the most recent addition to our partnership portfolio is the Royal Bank of Canada, who recently became our Principal Partners. They are planning a great series of activations this year. They have a strong tradition of collecting and supporting emerging artists so in many ways are the perfect partners for Photo London. We are really looking forward to working with them and developing this relationship. These are very significant changes for Photo London. This fantastic group of sponsors shows how Photo London has really established itself as a key cultural event both in London and internationally.

Horizonte II by Margot Kalach, 2022

LUX: Between 2015 and now, pandemic notwithstanding, have you seen a noticeable shift in consciousness among photography collectors?
FF: Certainly, during the pandemic some galleries did good business. Photography collectors are always very cautious, taking their time, doing the research, looking around, and so the online presence of galleries sort of suited them. They were actually very active.

Read more: Sam Dalrymple and Durjoy Rahman On Cultural Reconnections Post-Partition

I think we see very much a shift towards contemporary, younger collectors, in London especially, and that is exactly what we have been working on for the last eight years. We wanted to look to the future and create a platform for future photography, because photography is based on a continual process of experimentation and reinvention fuelled by fast-moving technology. It’s a relatively young medium, changing rapidly, and is finding its way through all sorts of directions. Our vision has always been to create a platform for younger galleries, younger artists, and, alongside that, educate and develop a pool of younger collectors.

Photo London founders Fariba Farshad (left), Michael Benson (right) with new director Kamiar Maleki

But overall, the art world changed so much after the pandemic, and many galleries found it more difficult to sustain themselves. Some moved to smaller places, some worked online. Everything in our world is generally shifting and still hasn’t quite returned pre-pandemic levels, though this year’s Fair shows that we are almost there. As a business, as a Fair, you absolutely need to be conscious of all these changes and create space for the opportunities they bring.

Photo London, Somerset House, London, 11th-14th May 2023

Utsava Kasera at the Glenfiddich distillery

LUX’s Contributing Whiskey Editor, Utsava Kasera, shares his six top whiskies to celebrate big or small achievements, raise a toast to milestones or just to savour the moment

Macallan James Bond 60th Anniversary release

This one is to have your own Bond moment when you take a trip to the Scottish Highlands or simply whilst watching any Bond film. It was created to celebrate 60 years of Macallan’s association with James Bond and is done in distinct Macallan sherry style, with a touch of suave. A very hard whisky to get hold of, but if you do, it’s a treat.

www.themacallan.com/james-bond-60th-anniversary-release

Deanston Organic Barley

Deanston is one of my favourite distilleries in terms of creativity and unique whiskies. This special limited edition is made from certified organic barley and the whole whisky making process from start to finish is organic. At cask strength, it packs a punch and is maturated in organic bourbon casks giving it their signature waxy character. The organic sherry finish rounds up the whisky nicely with a hint of spice and cream.

deanstonmalt.com/deanston-organic-2000-whisky

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Glenfiddich Cognac Cask

There is a lot of experimentation going on with finishing the whiskies in various casks in recent years. Finished in French Oak casks for last 2 years, this 26 year old limited edition Glenfiddich is a shining example of a cognac cask whisky done to perfection. It has an aroma of oak, dried fruits, plums and a sweet finish of honey layered toasted nuts with brown sugar and cream.

www.glenfiddich.com/grande-couronne

Yellow Spot 12 years

The spot whiskeys from Ireland have made a name for themselves in the whisky world amongst serious drinkers. The barrels at the distillery are spotted in the colours Blue, Green, Yellow or Red indicating the age they will be matured for. Yellow spot on barrel was aged for 12 years and it is perhaps my favourite of the lot. The finish in Malaga cask does the trick for the beautiful sweet finish with honey sweetness, red apples and peaches that lingers on throughout the palate. This whisky is a must own for all connoisseurs or even people starting their journey in whisky world.

www.spotwhiskey.com/yellowspot

Redbreast 27

This is another gem from Ireland which has won several accolades from experts around the world and is becoming very hard to source, due to limited availability and skyrocketing demand. It is the oldest Redbreast in the regular range, with tropical fruit flavours from the Ruby port casks and a very long finish with fruits and spice which tell the story of its three decades of maturation.

www.redbreastwhiskey.com/redbreast-27-year-old-whiskey

Read more: Four Seasons Ten Trinity Square, London, Review

Glenturret 7 year Peat Smoked

Glenturret is the oldest distillery from Scotland and has been recently revamped, following its takeover by Lalique. They are the only distillery to have a Michelin star restaurant on site. This peat smoke is a perfect balance between American sherry sweetness and the peat smoke. Either neat, with a dash of water or in an old fashioned cocktail, this is dangerously delicious.

www.theglenturret.com/7-years-old-peat-smoked-2022

The Whiteley Members Club

Neil Jacobs, CEO at Six Senses

Neil Jacobs is CEO of the iconic hotel and residencies group, Six Senses. Here, he speaks to Samantha Welsh about the brand’s wellness model

LUX: How far are your wellness beliefs rooted in your personal values and lived experience?
Neil Jacobs: It started after studying Hotel Management at the University of Westminster, French Civilization at La Sorbonne University and Italian culture and art in Florence, knowing I wanted to travel and use the languages I’d learnt; I figured the hotel business was a great way of incorporating it all.

My personal passion and love for wellness, sustainability, and travel then played a part in my next steps to joining Six Senses and, naturally, my aim has been to elevate the brand in terms of responsible design, green initiatives and wellness programming. By broadening the company’s global footprint, we’ve been able to create these wonderful spaces and opportunities for people to live and create their own experiences with these things, in a plethora of environments.

Having the opportunity to apply my skills and experience to this unique brand, whilst leading a group of dedicated and likeminded professionals on a daily basis, is a personal joy.

Six Senses Kaplankaya, Turkey

LUX: What is the approach to embedding sustainable values from ground up through every resort? How do you measure their impact?
NJ: Sustainability is embedded into the very fabric of every resort, something we can only achieve if it is the first thing we think about when we approach a new project.

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Our eco-conscious approach to real estate starts with thinking about how we preserve, celebrate and enhance the local and global environment, as well as the local community and cultural heritage of the location. Naturally, this means taking a bespoke approach to each resort. We make smart use of our land topography and use renewable building materials, and use local materials wherever possible to reduce our environmental impact.

The Forestias in Bangkok

We undertake rigorous analysis to ensure we can successfully and accurately measure the impact of each project and continue to learn for future projects. For example, in 2020, the renewable electricity that was generated across our resorts reached an amount powerful enough to power fifteen world cup football pitches.

To us, sustainability doesn’t just mean our buildings are sustainable, it’s also about encouraging residents and guests to live sustainably long term. Many of our resorts and residences now feature Earth Labs, where otherwise discarded materials are recycled and reused. Guests and residents can join workshops and sessions to learn how to reduce their own consumption and re-use materials, the aim of which is to instil long-lasting sustainable mindsets.

The Forestias is made up of 27 residences, set in a purpose-grown forest in Bangna, Bangkok

Over the coming years, as we learn more and more from our existing projects, sustainability will continue to show up more meaningfully through in-resort environmental impact reduction, including passive cooling of the properties, electric transport options for guests and the use of biodegradable cleaning products.

Across our resorts, we are already working hard towards being fully plastic free. Resorts have never used plastic bottles or miniature plastic amenities, and plastic straws were eliminated before 2016. For example, in 2018 alone, more than 5 million plastic items were eliminated, including over 1,200,000 coffee capsules, over 52,000 plastic bags, over 26,400 toothbrushes and over 460,000 bits of packaging.

LUX: How does your vision for the Residences’ portfolio translate into screening macro market opportunities and micro-locations, masterplanning site assembly, partnerships, local collaborations?
NJ: Because the approach to each project is so individual, we make decisions on a case-by-case basis as to whether we incorporate residences into new resorts, as buyer motivations can differ greatly to those that drive people to stay in resorts as guests.

The Penthouse pool at the Six Senses Residences, The Palm, Dubai

We aren’t afraid of delivering resorts in remote locations, but sometimes this isn’t the right fit for residences, and vice versa in other locations. Thanks to our teams and their knowledge and understanding of the local market and global appetite, we can make fully informed plans and decisions on what we build and where we build it.

It’s key that the project and location is innately right for us, and an important initial step is getting onto the land to make sure it is speaking to us, and we can feel the connection. We like to conduct meditations or rituals, and in the past have bought in a sacred geometer to analyse the energy of the land.

The Whiteley Six Senses Hotel is opening in London in 2023

Once we’ve made these decisions, we begin conversations with potential development partners. With such strong company values, we’re highly selective with who we choose to work with and always ensure our partners share our vision and values.

For example, we are working alongside Finchatton for the first UK Six Senses Residences at The Whiteley. This was a significant milestone for us; to expand into one of the world’s most iconic gateway cities, and we wanted to wait for the perfect opportunity and partner. Finchatton’s hallmark quality matches our own, and the opportunity to collaborate and transform a significant architectural landmark was too good to miss.

LUX: Where did your idea come from, to bring nature, wellness and healing to the global metropolis?
NJ: If you look at the history of people who come to our resorts, it would typically be for a short getaway – a couple of weeks maximum. They’d immerse themselves in the wellness programming, enjoying the facilities we have on offer, resetting in our beautiful and remote locations but then quickly return to their fast-paced lives back in their home cities.

We wanted to find a way to connect the dots, and create these retreat-like spaces, offering relaxation and reconnection, in a location that is much more accessible for everyone: the awareness that often the global elite, while they have the means, don’t always have the time. This is where the migration into urban locations began for us.

Each residence at The Forestias comes with a private pool, rejuvenating onsen and organic gardens where seasonal fruits and vegetables can be grown

When we are considering bringing a residential component to our urban locations, it is almost a no-brainer. Alongside our exotic, rural and alpine locations, we want to be in gateway cities, located in the prime neighbourhoods of the best urban communities in the world. The market for this type of home for the ultra-high-net-worth is very strong, which meant there was also a clear and compelling business decision to grow our portfolio here.

LUX: What is the membership model? How is it differentiated from other hospitality Groups’ super prime residences?
NJ: We offer a unique experience to our residence owners; combining the luxury and sought-after amenities of resort life, but with the privacy and personal touches of owning your own space. Owners benefit from exclusive resident savings, as well as VIP status recognised across all Six Senses hotels and resorts around the world.

At Six Senses, we pride ourselves on offering a best-in-class service, and our level of care and attention to detail is what sets us apart from other luxury developments. This unparalleled level of service is in part thanks to our hospitality roots, extended so that all of our owners can fully enjoy the privileges of a hotel or resort, with every aspect taken care of.

At the core of the Six Senses Residences The Palm, Dubai is Six Senses Place, providing residential owners unique space purely for mental and physical wellness

Owners have the option of placing their home into hotel rental portfolio, which opens up an additional income opportunity via renting their homes when they are not staying there. As properties are wholly managed by Six Senses, it’s a completely hassle-free process.

Read more: Coworth Park, Ascot, Review

Owners who place their home in our rental programme automatically take advantage of our furniture packages as standard – with each home inspired by, and designed in line with, the nature of its environment and local community. Dependant on the resort and stage of construction, there are also sometimes opportunities for owners to personalise design details, such as material choices.

LUX: What is next for U/HNWs who seek multi-based sustainable superluxury living? And do you have your personal capstone?
NJ: The Six Senses brand was born from the desire to help people reconnect with themselves, others and the world around them. One of our core goals, is to continue to create a global footprint and allow people to experience our brand in different environments.

The exterior of the Whiteley Six Senses

Looking ahead at 2023, we are expecting a continued increase in the philanthropic buyer across the branded residences sector. High-net-worth buyers are increasingly seeking a home that has been created in a socially and environmentally mindful way, rather than just investing in purely bricks and mortar.

We are already well placed to respond to this rising demand, thanks to our responsible approach towards all projects through our thorough and sustainable practices.

In terms of a personal favourite of mine, I couldn’t quite say. That being said, part of the richness of my job is the opportunity to interact with our hosts around the world and the buy-in to the brand that shows up in each location. So, my favourite tends to be the project I’m visiting at the time!

Find out more: sixsenses.com/residences