The InterContinental’s pool area

Cascais, on the Atlantic coast of Portugal, has a fabulous summer climate, culture, history, cuisine, convenience – and a bijou hotel to enjoy it all from, as LUX discovers

“You have to go to Cascais – it’s the light, and the atmosphere but really the light” says Tony, the legendary manager of the staff cafe at Vogue House, Condé Nast‘s London headquarters, and as Portuguese as salt cod.

Tony and I have had this conversation numerous times over the years. When I got my own office and PA, meaning I didn’t visit his Hatch canteen any more, we would talk on the stairs or before I hosted a client in the Vogue House boardroom, as he organised snacks.

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I was intrigued not only because Tony was a local, but because he was particularly passionate about a place that is not really on the international radar. People speak of the coast south of Lisbon, or up towards Porto, but Cascais (pronounced Cash-kise), on a map, looked intriguing. It’s only 20km or so from the Portuguese capital, but past the mouth of the Tagus river and on a stretch of coast that angles sharply around into the Atlantic. It is a historic resort town and only a few kilometres from Sintra, the hilltop town that is a destination for tourists from all over the world.

A deluxe room

Cascais being a weekend resort for the well-to-do of Lisbon, is not teeming with luxury hotels, with the exception of one: the InterContinental. This is a chain that may be more familiar to business travellers, but, as I walked into its lobby, it was plain to see that this property is aimed at a whole different world.

“The light,” I said to nobody in particular, inadvertently echoing Tony’s words. The floor- to-ceiling windows on the other side of the lobby opened out into a world of light: the green of the grass around the pool, a couple of floors below, a deep blue sea, a light blue sky that, it would transpire, turned into a kaleidoscope as the sun made its way from above the coast of southern Portugal, in the distance ahead, to set over the Atlantic, to the right. There must be some psychology involved here, on the western edge of Europe, but the light was different from the Mediterranean – less hard, more watery, somehow. Maybe it was the waves: rolling, louder, more insistent than those on the quasi-landlocked Med.

Furnas do Guincho

Maybe it was all auto-suggestion but there was nothing illusory about the pool. It sits on an island of grass and trees, above the main pedestrian promenade linking Cascais with the old resort town of Estoril. To the right was a cute little bar area – a bar, a few tables, a lawn, some flowers and trees – where we retreated on arrival, and found ourselves greeted by vast gin and tonics in stemmed bowl glasses, flavoured with a local herb that tasted halfway between basil and mint. It felt like drinking the view.

The rooms were the next surprise, and in the best possible way. There is no generic corporate style here: instead, large, high- ceilinged, contemporary-touch bedrooms with floor-to-ceiling windows onto big balconies. The blue fabric wall behind the bed matched the sea; elsewhere the room was light greys, taupes, bronzes and swathes of blue. The effect was utterly relaxing: we enjoyed the balance of comfort (top quality beds, excellent functionality) with design flair, individuality and the sense of being in a particular place. And with the balconies looking out over the pool, promenade and sea, it was very peaceful. There was, we noticed on the second day, a little local train line beneath the pool area and by the promenade: it gave a sense of character, rather than detracting from the experience.

The hotel’s fried Mozambique. prawns à ǵuilho

You could lie by the pool all day, loungers on grass, and sip basil-mint gin and tonics. One observation we made, when visiting in mid-summer, while the sky was clear and blue with uninterrupted sun every day: it was notably less scorching than on any Mediterranean coast. Daytime temperatures were about 28C (82F), maybe 10ºC cooler than the average temperature in August in Turkey, Greece or Sardinia.

This means you have more energy, and no need to retreat inside for air-conditioning (itself
part of the vicious circle of global warming), which meant we descended the private staircase to the promenade and walked to Cascais’s old town, a kilometre or so along the seafront, every day. It’s a bijou place, with small café and restaurant terraces, a little beach, and a warren of backstreets housing craft shops and speciality dining, from sushi to local seafood.

Cascais old town

Beyond the town centre, a taxi ride away, is the most spectacular restaurant in Portugal, Furnas do Guincho. Its huge terrace seems to hover over the rocks at the point where the coast turns northwards and the Atlantic hurls its full force at Europe – not a place to swim in the sea, but a memorable place to sample a mixed-grilled shellfish platter or specialities (all caught the same day), such as red snapper or grouper.

The restaurant at the InterContinental was less dramatic, but even more pleasing to sit in, for the sense of serenity. On a higher floor than our room, the small private terrace looked out to a sweeping view from the outskirts of Lisbon, along the coast, to the left, to the ocean beyond Cascais’s colourful roofs, to the right. The décor consisted of light-yet-opulent blues, greens and bronzes – everything open to the light. Equally refreshing was the food: grilled, locally caught sea bream with a hint of lemon and thyme.

Read more: Luxury Travel Views: Mandarin Oriental Ritz, Madrid

Step outside the lobby, at the front of the hotel, and you’re on a busy main road, which you wouldn’t think existed from the other side (that’s clever architecture for you). It was convenient, though, for trips to the hilltop palace-collection at Sintra, and to the Lisbon Oceanarium, Europe’s largest indoor aquarium. And for getting to the hotel in the first place: the InterContinental is a 30-minute taxi ride from Lisbon’s international airport. It’s rare to find a luxury resort-hotel in Southern Europe so close to a major transport hub, meaning it beckons as a weekend break as well as a summer holiday destination. I had better let Tony know: he was right.

Written by Darius Sanai

Find out more: estorilintercontinental.com

The artist Sassan Behnam-Bakhtiar, holding a paint-scraping tool, which he uses for his special peinture raclée technique

A new body of work by the French-Iranian artist generates energy on canvas

In his studio in Cap Ferrat, in the South of France, Sassan Behnam-Bakhtiar creates his paintings using a technique called peinture raclée – a process he says he deploys to metaphorically strip down the superfluous elements of our lives, revealing the energetic source.

Sassan Behnam-Bakhtair photoshoot in his studio in Cap Ferrat

The collection, titled ‘Manifest’, is a hybrid collection of physical and digital artworks, comprising 50 physical paintings and 50 NFTs. He is an artist on the up, with two of his works recently selling for record prices at auction in London.

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A child of revolution, Behnam-Bakhtiar has had a colourful, sometimes troubled, life. Now the colours he creates are those of the mountains and the sea near his home, in a part of France that inspired artists from Cézanne to Dufy.

IN THE ARTIST’S OWN WORDS:

Sparks of Life

Sparks of Life

It always starts with a spark! You feel the energy from within trying to break through the conditioned layers of your humanity, built up while living in our modern societies. Through these cracks you then start to shed the necessary layers to arrive at your soul frequency. Once a person can truly feel that, and tune into that frequency, anything is possible.

Nothing but Energy

Nothing But energy

This demonstrates the inner world of a human being – order in chaos. And the importance of manipulating this chaos, in a way that promotes human evolution, being long overdue.

Read more: This Summer’s Must-go Beach Club

Imagine when a maths formula starts to make sense and gives you the result you have been working towards. This is a similar process, where one needs to constantly tune their energy in order to obtain that result.

And We Knew it Was Our Time

And we Knew it Was Our Time

It shows two inner worlds mixing together for the first time, creating a new harmonious one. Imagine two lovers getting together and everything clicks, creating a new inner world ruled by harmony and balance.

Portrait photography by Angie Kremer

This article appears in the Summer 2022 issue of LUX

The leafy terrace at Mandarin Oriental Ritz in Madrid

In the first part of our luxury travel views column from the Spring 2022 issue, LUX’s Editor-in-Chief Darius Sanai checks in at the Mandarin Oriental Ritz in Madrid

“A little bit more, Sir?” A bartender is holding up a bottle of artisanal gin, having already emptied what seemed like a half-gallon of it into a bowl-shaped glass, filled with ice, slices of limon (a kind of lemon-lime cross) and juniper berries. I look up at the trees, the expanse of the square behind them, the outline of the grand Thyssen-Bornemisza Museum beyond, and the moon above, and think: yes, why not. I have arrived.

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If the arrival is a key part of any hotel experience, the post-arrival at the Mandarin Oriental Ritz, Madrid, was pretty important, too. I had left my bags to be taken to my room as I wanted to catch the last embers of daylight from the bar’s terrace, which sits above the garden restaurant, itself almost contiguous with the trees of Retiro Park. You are in the centre of one of Europe’s most vibrant and dusty metropolises, but surrounded by nature (and, in my case, soon immersed in a very good small-producer gin).

The hotel’s royal suite

Neither of Europe’s other two grand Ritz hotels, in London or Paris (the three were born siblings, created by César Ritz to redefine the grandeur of hotels at the start of the 20th century, but are now owned and operated separately), offer such an outdoor experience, or indeed such a refreshing one. I am not speaking of the gin here, but of the decor: Mandarin Oriental’s magic wand over the previously grandiose but fusty Ritz Madrid has created lavishness with a certain elegance and contemporary class.

It’s a perennial question: what to do with a grande dame hotel – in this case, one of the grande dame hotels – to bring it into line with what a new generation of traveller expects, while not destroying its soul. I have seen hotels with decorative ceilings ripped out, with hip bar designers imposing darkness where there was once light, and with questionable contemporary art replacing dusty but meticulous classics.

The hotel’s Belle Époque façade

Fortunately the Ritz does not fall into these traps. Our Mandarin suite combined fresh but classic colours – pale walls, pale gold furnishings – with hints of MO style, such as black lacquer detailing. The service was up to date, effortless and effective without being stiff: just the right balance to cater for a wide variety of traveller.

Read more: Chef Ángel León: Ocean Sustainability Supremo

And the food in the Jardin (Garden) restaurant was also spot on: kimchi chicken skewer, Thai sea bass ceviche, grilled sole with artichokes. You can delve into the paella menu, as many others were doing. The hotel may claim it has updated its Belle Époque origins to work in the luxury travel world 110 years after it opened (I don’t know, I didn’t check, but it’s the kind of thing a hotel would say) and in this case, they would be absolutely right.

Find out more: mandarinoriental.com

This article appears in the Summer 2022 issue of LUX

There may be more exclusive places on the islands near Cannes and in the bays around St Tropez and Capri, but summer isn’t summer without a little fix at the Monte Carlo Beach Club

If you are planning on visiting the French Riviera this summer and haven’t haven’t managed to book yourself a super prime villa or a suite at one of the luxury hotels, never fear. The Riviera is made or broken by your daytime waterside experiences and for that there is no place better than the newly refreshed Monte Carlo Beach Club.

Ostensibly a part of the adjoining Monte Carlo Beach hotel, which sits on a rock overlooking the bay, the town and the mountains beyond, this huge complex combining an outdoor Olympic swimming pool, extensive terrace areas and cabanas, watersports and restaurants is open to any guests staying at the prestigious hotels owned by the Societé des Bains de Mer which runs most of the hospitality in Monte Carlo.

But a little-known secret is that this social hub of the area is also open to all comers who book in advance and pay a daily fee. At €170 per person it’s a fraction of what you would pay for staying in a hotel nearby.

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So what do you get? A recent visit showed the facilities to be among the best, if not the best, of the entire Riviera. As well as the huge pool, with a separate lane for swimmers doing lengths, and two diving boards, vigilantly policed by lifeguards, there are lounges all around the pool and, more exclusively, cabanas on the lower terrace between the pool and the sea. You can also go parasailing, jet skiing or waterskiing and give yourself a booster of Domaine Ott rosé along with a tuna salad at the Terrace restaurant.

All of which makes for an excellent day or three out. But that’s not the whole story. When we have meetings with Monaco residents in summer, they tend to be at the beach club. Either on the terrace restaurant, or in the cabanas themselves. People-watching should be done subtly here so it doesn’t mark you out as a tourist.

Read more: Chef Ángel León: Ocean Sustainability Supremo

And please, no taking pictures of celebrity billionaires. But they are there, either chilling out for a day’s rest from the yacht, or taking a few hours out between meetings at the office, or simply on a day out with their family because their boat doesn’t have a swimming pool quite as big as this – nowhere else in the region does.

The flipside is that, if you already know people down here, this is not the place to go unless you want to see and be seen. We were accosted four times by friends and business contacts and invited to various combinations of lunch, drinks and boat outings, when all we were trying to do was take advantage of the sports facilities and get some proper exercise. But whether you use it as a social or leisure destination, there’s nothing quite like it.

Find out more: montecarlosbm.com/monte-carlo-beach-club

Original digital art by Mercedes-Benz at Design Essentials IV: The Art of Creating Desire

LUX stops off at the Mercedes-Benz Design Centre in Nice to hear about its latest projects – from EVs to NFTs, and everything in between 

Few places can evoke desire like the Cote d’Azur. Home to the world’s superelite and their superyachts, it is where the most exclusive communities migrate in summertime – and where the aspirational go to see them.

All of which made it a fitting backdrop for Mercedes-Benz’s latest Design Essentials instalment, ‘The Art of Creating Desire’. Presented between their Design Centre in Nice – a cylindrical, spaceship-like structure hidden in the pine forest of France’s tech hub – and the newly-opened Maybourne Riviera, the showcase featured the marque’s latest projects and outlooks on the future of luxury.

The Mercedes-Benz Design Centre in Nice

‘We aspire to design the most desirable cars in the world. With Design Essentials, we illustrate how we approach this privilege in concrete terms,’ explained Chief Design Officer Gorden Wagener. ‘The venue – our Design Centre in Nice – plays a central role in this. I see it as a creative melting pot where we forge ideas for the luxury cars of the future.’

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That future, according to Mercedes-Benz, is digital. The marque has joined as the fifth and final founding member of the Aura Blockchain Consortium – a non-profit association of luxury brands investing in blockchain solutions for the industry – alongside LVMH, Prada Group, OTB Group, and Cartier, part of Richemont.

Mercedes-Benz is expanding into in-car digital art experiences

‘Every product going forward will have a digital twin,’ explained Daniela Ott, General Secretary of Aura. ‘This is for all the use cases you can imagine, from traceability and provenance to resale and second-hand, NFTs and using the physical products you own in the metaverse’. In Mercedes’ case – the first and only premium automotive manufacturer to have joined the consortium – this means providing new digital art experiences both in-car and beyond.

Elsewhere, the marque is strengthening its commitment to the global fashion scene with the concept Mercedes-Maybach Haute Voiture, an S-Class reimagined through an haute couture lens. The car, which is expected to appear in 2023 in a limited release of 150 units, features a two-tone midnight blue and champagne exterior, and a nappa leather interior with bouclé fabric and gold trim.

The limited edition Mercedes-Maybach Haute Voiture

We also had a sneak peek of the new Limited Edition Mercedes-Maybach. Soon to be available in a 150-unit run, the model was borne out of Project MAYBACH, the off-road EV concept created in collaboration with the late artist and fashion designer Virgil Abloh, which was presented at the Rubell Museum during Miami Art Week. The limited edition model marks the third and final collaboration with Abloh, whose Project Geländewagen set a benchmark for fashion and automotive collaborations in 2020.

The Mercedes-Maybach by Virgil Abloh (left) and Project MAYBACH (right)

The grand finale took place over aperitifs at the Maybourne, where we were introduced to the Vision AMG, Mercedes’ new, all-electric sports car concept, slated for release in 2025. The car offers a preview of the all-electric future of Mercedes’ performance brand, having embarked on an electrification plan which will see electrified alternatives in every segment by the end of 2022, and an all-electric fleet by 2030.

Read more: Octopus Energy Founder Greg Jackson On The Green Revolution

The Mercedes-Benz Vision AMG

Speaking of the formal aspect of the Vision AMG, Wagener said, ‘it continues to write the history of the VISION EQXX and raises it to a completely new level’.

If the future really is electric, we want to do it in the Vision AMG.

Find out more: mercedes-benz.com

Milton Avery, Two Figures on Beach, 1950

In our ongoing online monthly series, LUX’s editors, contributors, and friends pick their must-see exhibitions from around the globe

Péjú Oshin, Curator

My recommendation is In the Black Fantastic curated by Ekow Eshun. The show is truly a visual delight bringing together eleven artists from across the African diaspora who use myth and fiction to question the world as we know it.

Lina Iris Viktor, Eleventh, 2018. © 2018. Courtesy of the artist

I’m drawn to the materiality of works and so appreciated the chance to take a deeper look at the work of many of my favourite artist including Ellen Gallagher, Hew Locke, Nick Cave and Wangechi Mutu who also created a stunning film in collaboration with Santigold which I was completely enamoured with.

Installation view of Hew Locke worksm, In the Black Fantastic at Hayward Gallery 2022 © Rob Harris

Bonus tip – whether you’re new to exploring the visual arts or an afficiando you’ll want to get there early to spend enough time with the works. My first visit to the show was 1.5 hours before gallery closing and it I quickly realised with every vantage point something new was revealed within the work and I didn’t have nearly enough time. I’ll be back for another visit as well as spending time with the fantastic catalogue which I’d also recommend too.

Cj Hendry, Artist

I would recommend the The Whitney Biennial 2022: Quiet as It’s Kept. An exhibition of 63 intergenerational artists, opened April 6 across two floors of a building in the Meatpacking District.

Jane Dickinson, Save Time, 2020

It’s the 80th edition of the Biennial with works in sculpture, painting and performance, from artists including Veronica Ryan, Yto Barrada and Alfredo Jaar.

Lisa Alvarado, Vibratory Cartography: Nepantla, 2021–2022

Anne-Pierre D’Albis Ganem, founder of Parcours-Saint-Germain-des-Prés and Co-founder of Spirit Now London

The best show in New York is Oscar Murillo at David Zwirner.

Oscar Murillo, Manifestation, 2019-2020

If you then find yourself in the South of France, you must visit Le Muy created by Jean-Gabriel and Edward Mitterand. They asked the designer, India Madhavi to decorate the house. The 15 hectares park was designed by the famous Louis Benech with white oaks and cork parks surrounded by nature.  The pool of the park is signed by the artist, Peter Kogler.

Pool designed by Peter Kolger at Domaine du Muy

The interior of the house is designed by India Madhavi with all her furniture. The palm is by the artist Guy Webb. The tiles were made by India for Bisazza.

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Interior design at Domaine du Muy

Read more: Marina Abramović: The Artist As Survivalist

LUX Editorial Team

Everyone knows the Royal Academy of Arts Summer Show is one of London’s best cultural gem in the summer. This year, alongside it is a retrospective from across the pond: Milton Avery, American Colourist.

Milton Avery, Little Fox River, 1942

Collecting together portraits and landscapes from Maine to Cape Cod, the exhibition tracks the artist’s development over the 1930s-1960s. And what a fascinating period to span: watch Avery’s style develop and move towards expressionism. Avery was truly an artist’s artist, winning everyone’s respect from Mark Rothko to Barnett Newman. Worth visiting.

Chef Clare Smyth at work in the kitchen of her London restaurant, Core by Clare Smyth

As the first British female chef to acquire three Michelin stars, Clare Smyth is demonstrating to women all round the world that it is indeed possible to be a leading chef in the 21st century. She’s fearless in the kitchen, having worked under the likes of Gordon Ramsay and Alain Ducasse, and is now not only sharing her talent in London, but in Sydney, too.

LUX: You have previously mentioned that if you weren’t a chef, you would have been a showjumper. So, what attracted you to the culinary world over the equestrian one?
Clare Smyth: I started cooking at a young age and loved it. I decided it was more attractive to me because I wanted to travel and see the world, rather than being a showjumper training in one place all the time.

LUX: Gordon Ramsay famously once said that he didn’t think you would last a week in his kitchen. What do you make of this? And what were the biggest challenges you faced early on in your career?
CS: That’s always misconstrued, because most people didn’t last a week in his kitchen! It was tough, but I chose to work at the most difficult places so I could challenge myself. I knew that if I wanted to be the best, I needed to work with the best. It was long, intense hours and a lot of pressure, but I thrived in that environment.

Scottish langoustine, served at Core by Clare Smyth

LUX: Is it true that sexism is still rife in the culinary industry?
CS: There is a lot of work to do everywhere you look, not just in our industry. It’s part of society and awareness of it is what will help change it. Going back 10 or 15 years, I would often be the only woman in the kitchen. Half of my team now, front of house and in the kitchen, is female. I’m hoping that in the next 10 years there’ll be plenty of women at the top level.

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LUX: You have noted before that it’s the punishing working hours of the culinary industry that accounts for so few women running the world’s best restaurants. Do you still believe this to be the case?
CS: Yes and no. It’s not that women can’t do it; a lot of women choose not to. The profession is generally not conducive to a work-life balance, especially right at the top level.

A view of the dining room at Core by Clare Smyth

LUX: What’s your take on British cuisine?
CS: British food is hearty and rustic, but I approach it in a very fine dining, skilful way. We are so lucky to have phenomenal produce here – the most incredible shellfish, game and beef. At Core, we take British ingredients and elevate them to a fine level.

LUX: You catered for the royal wedding of the Duke and Duchess of Sussex – what’s your favourite memory of this experience?
CS: The stealthiness of the project. It was going on for months and our team managed to keep it all quiet. They were great fun to work with and are brilliant people. They made it fun for all the team.

Potato and roe, served at Core by Clare Smyth

LUX: How do you approach sustainability at Core?

CS: We approach it more than just environmentally. We do it culturally, economically, paying fair prices, working with people who farm in ethical ways and being creative in limiting food waste.

LUX: How do you think the fine dining industry can, as a whole, be more sustainable?
CS: We can help educate people and our staff to be more aware of where the produce comes from and where you are buying it from.

Morel tarts, served at Core by Clare Smyth

LUX: Your new restaurant, Oncore, opened in Sydney in November last year. What led you to open a restaurant on the other side of the world?
CS: I lived in Sydney when I was younger and fell in love with the city. It was a fantastic opportunity to open a flagship restaurant in a new building overlooking one of the most incredible views of the harbour, near the Opera House.

Read more: Chef Ángel León: Ocean Sustainability Supremo

LUX: How did you tackle opening a new restaurant amid a pandemic?
CS: It was incredibly difficult – there were lots of challenges. I have a phenomenal team in Sydney who took, and still take, everything in their stride.

Clare Smyth is the owner and head chef at Core by Clare Smyth in London and Oncore in Sydney. Her debut cookbook, Core by Clare Smyth (Phaidon), is out this summer.

Corebyclaresmyth.com

This article appears in the Summer 2022 issue of LUX