Dani Reiss, Canada Goose CEO

Heritage, authenticity, design pedigree, celebrity – Canada Goose has all the elements of a fashion success story. So how did a family brand that made functional fur-trimmed down parkas for the local police become the multimillion-dollar powerhouse it is today? We talk to CEO Dani Reiss on the rise of outerwear.

In fashion, a lot changes in 25 years. Dani Reiss, the CEO of Canada Goose, began working at the brand – originally owned by his parents – in 1997. At the time, the company’s famous down jackets were worn by those who worked out in the cold: members of the Ontario police force, film crews and actors on set, and Canada Goose was part of a successful family business bringing in $3m in revenue a year. Fast-forward a quarter decade and things are a little different. In 2017 there was a $391m IPO. And in 2021 Canada Goose reported revenue of $186.69m, in the second quarter alone. This turnaround is perhaps thanks to an unlikely style success story – that of Canada Goose’s down jackets, with their trademark red and white logo on the left-hand sleeve. These jackets are now worn – on and off film sets, crucially – by Emma Stone, Daniel Radcliffe, Angelina Jolie, Daniel Craig and Rihanna. They’re also bestsellers in the outerwear category at retailers such as Flannels and Net-A-Porter, and the global shopping platform Lyst saw searches for Canada Goose go up 71 per cent year-on-year in December 2021.

Campaign star Kate Upton in an SS20 look

Speaking to LUX recently, Reiss is candid that this wasn’t an overnight change. The marketing budget was non-existent when he took over and the team worked hard to create an organic buzz around the brand. “One thing we did have at the time was a relationship with the film industry,” he says. “And so, we used them as role models and made sure our products appeared on screen like in National Treasure, where people were out in extreme climates.” Reiss surmised – correctly, as it turned out – that this authentically rugged association would appeal to urbanites. The real success came when these customers invested in the jackets – and found them to live up to the hype. “Ultimately it comes down to having an amazing product,” he says. “They thought they were warm because they bought a similar jacket, but they weren’t actually warm. That’s where the urban legend came to be, where people say, ‘All you need to wear is a T-shirt under a Canada Goose jacket’, which is actually true.” Canada Goose has grown in stature through its association with the cold, and Canada – a place where the weather system can plummet to -30C (-22F) – is part of that.

Dani Reiss took over the family business from his father, David, pictured above, in 1970

‘Made in Canada’ has long been part of Reiss’ strategy. The brand has the largest supply chain in the country and employs 20 per cent of Canada’s apparel workforce. He describes the ‘Made in Canada’ label as “a huge differentiator for us. Like a Swiss watch made in Switzerland, you see the word Swiss before you see the word watch and so you can’t separate the two.” As a young man, Reiss was resistant to joining the family business. Studying English literature and philosophy at the University of Toronto, he initially made an exception to earn some money to go travelling. While at the company, he says, he realised the power of this brand he had grown up with. “What I learnt was that people loved our products,” he says. It was this connection between customer and product – a story, in a way – that made the aspiring writer change his mind and, indeed, excel at his job. He was CEO four years after joining, at the age of 27. A balance of fashion nous and product-led authenticity form the narrative that has helped Canada Goose become the success story it is today.

A glimpse inside the Canada Goose factory in Toronto

Ben Hurren, head of men’s elevation at Flannels, sees the combination as essential. “Authenticity and craftsmanship undoubtedly remain key drivers for our customer,” he says. “But, more importantly, what really speaks to our customer is Canada Goose’s relevance in the world of high fashion and their ability to embrace modern trends; not just in the design process, but in their approach to marketing, too.”

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Canada Goose – with its 60-odd-year history – has the heritage and design pedigree to back up any modern marketing. “I think that today, more than ever, people want authenticity, they don’t want fake brands,” says Reiss. “Brands with heritage and history that have a reputation behind them – I think that’s important.” But he’s aware fashion is part of the story, too. “If you look back 20 years ago… you bought a jacket, you wore it in the snow, you didn’t pick it when you went to pick your outfit, the way you would pick your shirt and your shoes or your blazer,” says Reiss. “Outerwear has now become a category.” The brand is exploring categories, too, adding knitwear in 2017. In its Fiscal 2022, the brand saw its non-parka revenue grow by more than 70% – driven in large part by lightweight down, vests and apparel.

Jordin Tootoo in the FW19 Campaign

Next is footwear. The brand bought the outdoor shoe company Baffin for $32.5m in 2018, and launched Canada Goose footwear at the end of 2021. The CEO is keen to keep the company relevant moving into a new era, with a new generation. The campaign for the footwear range is a case in point – it features indigenous Canadian activist Sarain Fox, the hockey star Jordin Tootoo and Romeo Beckham. “They have to be a Goose Person; they have to be authentic,” says Reiss. “All of our brand ambassadors use our products in the field, and they are all authentic people with authentic stories.”

Read more: Frieze pays tribute to New York’s cultural ethos

Beckham is described as “a compelling addition, and he also does resonate with a younger demographic.” Pierre Lavenir, a cultural specialist at Lyst, says alliances like these have helped the brand’s success. “Teaming up with relevant community stakeholders can also help Canada Goose reach a greater audience,” he comments. “We can expect the brand to strengthen its partnerships with outdoor enthusiasts – such as explorer Aldo Kane – and to team up with more streetwear brands to earn its place in the zeitgeist.”

Campaign star Romeo Beckham modelling the brand’s first ever footwear offering

Canada Goose’s relevance to a new generation goes beyond campaigns, to how the company is run. The longtime use of fur on the hoods of parkas was problematic – particularly for Gen Z and millennials, demographics with sizeable vegan cohorts. In June last year, Canada Goose announced that it would be going fur-free, and cease manufacturing with fur by the end of 2022. The focus has instead moved to a more sustainable way of working: the brand launched the Standard Expedition Parka in 2020, which is made using 30 per cent less energy than any other Canada Goose product, and recycled nylon is part of the Cyprus and Crofton collections.

Campaign star Jordin Tootoo modelling the brand’s first ever footwear offering

Lyst’s statistics already demonstrate that there is appetite for these pieces – in December 2021, searches for Canada Goose fur-free items were up 75 per cent year-on-year and pieces made with recycled fabrics were up 73 per cent. Net-a-Porter, meanwhile, reports that the brand is now on the radar of more conscious consumers, who are purchasing these designs as ‘buy now, wear forever’ investments. Despite these pieces being more expensive to produce, Reiss is committed to making the change. “This is the future of outerwear for Canada Goose,” he says. “Part of our mission is to make the world a better place. You can’t be a company and just take from the world without improving it at the same time.”

Find out more: canadagoose.com

Nicholas Party portrait, 2022

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

Umberta Beretta, philanthropist, art collector and curator

I would recommend Nicolas Party’s exhibition at the Poldi Pezzoli Museum in Milano. I am directly involved and partially sponsored the exhibition. It is called Triptych. Nicolas party produced eleven new works all inspired by the old masters at the Poldi Pezzoli Museum. The exposition has been organised in partnership with Kaufmann Repetto gallery and will run until the end of June. In the museum Nicolas Party was especially impressed by Mariotto Albertinelli‘s triptych. The exhibition is very respectful of the museum but very connected to the surrounding works.

Nicolas Party’s exhibition at the Poldi Pezzoli Museum in Milan is showing until June 27 2022

Together with the triptychs, the artist created six oval works inspired by his beloved Rosalba Carriera, an author also present in the Poldi Pezzoli Museum. This exhibition is a chance to see how contemporary art can very well be inspired by the works of the past and of how a brilliant contemporary artist can create something totally new whilst giving homage to the ancient.

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The artist has been very generous with sharing what inspired him and by making some very clear references that can be followed whilst looking at the exhibition. It is a great chance to see something new and discover something old at the same time.

Cheryl Newman, artist, curator and photography consultant

I’m running a workshop in Norway in a couple of weeks so will finally get inside the 60-meter-high new Munch Museum on Oslo’s trendy waterfront. Love it or hate it, this recycled concrete and steel sustainable building is a long-awaited landmark and new home for the enormous collection of Norway’s greatest painter.

Munch museum, Oslo

Munch was a progressive and challenging artist, so it seems apt that his new home should incite a bit of debate. I have been moved by Munch’s depictions of loneliness and death since my student days, so I’ll head straight to the Sick Child paintings. Munch’s work is unflinching and confronts the fragility and anxiety of human consciousness which is as relevant now as when Munch was a contemporary.

One of Munch’s most renowned paintings ‘The Scream’ on display at the Munch museum

It’s also interesting to see Munch shown with artists directly influenced by his work and if you are in Vienna before June 19th, In Dialogue at The Albertina includes work by Peter Doig, Tracy Emin, Georg Baselitz and Marlene Dumas that refer to Munch’s themes and you can see profound responses by the artists included.

Tracey Emin’s work on display at the ‘In Dialogue’ exhibition at The Albertina in Vienna

Closer to home, I am yet to visit artist and activist Poulomi Basu’s powerful work, Fireflies at Autograph gallery in London. Poulomi is a powerful force, advocating for the rights of marginalised women through political documentary and complex storytelling. Her unflinching images are at once both dreadful and seductive. Curated by Bindi Vora, in this multimedia exhibition, Poulomi turns the camera on herself and her mother, to express patriarchal violence, resistance and solidarity with her female subjects. I am expecting a challenging and provocative exhibition.

Poulomi Basu’s ‘Fireflies’ at Autograph

I’ll also be heading to a group show at the Nunnery Gallery in Bow, a free public gallery that supports local emerging artists. ME 2 U: A Collective Manifesto is a lesson in how to maintain a healthy positivity in the complex world we inhabit. It will include a young painter whose work I love, Lindsey Mclean.

Lindsey Mclean’s ‘Faux Stairs’ showing at Bow Arts

Lindsey’s work disrupts the historical representation of femininity and women in painting. She uses recurring motifs such as fans, veils and feather boas to obscure the gaze within the work. Her paintings are rich and complex, mixing textures and jewel like colours.

Candida Gertler OBE, Co-Founder, Co-Director and Trustee at Outset Contemporary Art Fund

My best kept secret for the most rewarding visit to any Biennale is to go after the opening week! It’s true, you might miss the glamorous opening parties and the opportunity to see many familiar faces from around the globe, but you are abundantly compensated by the unparalleled experience of enjoying art the way it’s meant to be seen – with enough space to breathe!

Simone Leigh’s ‘Brick House’ on show as part of ‘The Milk of Dreams’ at the Venice Biennale

Having just returned from my first art trip with Outset Partners (a philanthropic body that grants experimental forms of funding to transformational projects) since the start of the pandemic, my fears of being confronted with the ‘same old, same old’ whilst in an entirely different, post-pandemic world were allayed. The 59th Venice Biennale, curated by Cecilia Alemani, addresses our collective desire to reconnect to the basic elements – even bringing a field of fragrant earth into the display- and embraces in some of the pavilions and external exhibitions technology in all its augmented and extended forms (a characteristic that defines our ‘new normal’) giving us a insight into the nee phygital era.

Loukia Alavanou, still shot from ‘Oedipus in Search of Colonus’

The Milk of Dreams exhibition in the Arsenale is the most elegantly curated exhibition I can remember in a long time. Each section of the long stretch of installations felt like a fully formed museum show in its own right, giving the – mainly female – artists the consideration and attention to detail that both they and the public deserve. Between the main exhibition, the national pavilions, and the collateral programme, just the right mix of well established and emerging artists were represented: from Barbara Kruger’s temple-like installation of warning texts Untitled (Beginning/Middle/End) in her signature style in the Arsenale, to the fantastic Greek Pavilion Oedipus in Search of Colonus by Loukia Alavanou. There – equipped with my goggles and a swivelling chair to anchor me – I took my front row, immersive seat to a mesmerising journey where ancient Greek tragedy meets futuristic virtual reality.

Although there is so much more to choose from the collateral programme – like the monumental Kiefer exhibition at the Palazzo Duclae; the wonderful Parasol Unit show at the Music Academy with Oliver Beer’s fantastic musical installation in the palazzo’s chapel; and the Ugandan and the Côte d’Ivoire Pavilions scattered around Venice – for me, the one unmissable exhibition is Udo Kittelmann and Taryn Simon’s exquisite Human Brains: It all Begins with an Idea at the Fondazione Prada.

Read more: A new photography prize for sustainability is launched

The design alone of this mammoth endeavour deserves a whole pride of golden lions, and the way the curation traverses the centuries of brain research through the lense of artists, illustrators, scientists and writers left me feeling equal parts satisfied and eager to learn more – like a student and a scholar simultaneously. Just as the entire biennale was a journey between the known and unknown, what more can one ask for

Clara Hastrup, artist

As I’ll be traveling to Copenhagen at the end of this month, the exhibition I’m really looking forward to seeing is Haegue Yang: Double Soul at Statens Museum for Kunst, Copenhagen, Denmark (until July 31). Yang has an incredible visual language and works with a wide range of materials to create her sculptures and immersive environments.

Haegue Yang’s ‘Double Soul’ at Statens Museum for Kunst, Copenhagen, Denmark

She uses everything from venetian blinds, bells, drying racks to pompoms and artificial flowers, transforming and abstracting these familiar objects into surreal and chaotic landscapes where you can either get lost or find new meanings.

LUX Editorial Team

This month we suggest visiting the White Box gallery at the Nobu Hotel London Portman Square. Currently on show are the works and submission statements of the winner and runners up of the Louis Roederer Photography Prize.

The Louis Roederer Photography Prize for Sustainability exhibition at The White Box space at Nobu Hotel London Portman Square. On show until May 29 2022.

The winner of the inaugural Prize is Akosua Viktoria Adu-Sanyah, who’s works come from her collection ‘Behold the Ocean’, where she focuses on the detrimental effects of ocean acidification. Runner up Jasper Goodall’s use of colour and light in his photographs, bring you into a fairy-tale like landscape evoking reverence for nature. Adu-Sanyah’s and Goodall’s works are juxtaposed with Sahab Zaribaf’s meditations on the relationship between humans and nature.

Photograph by David Taggart

Jeff Koons is the world’s most expensive living artist, creating works that reflect modern life in their interplay with kitsch, materials and art history. Koons chats to Millie Walton about communication, how art brings the sublime into the everyday and pink inflatable rabbits

Jeff Koons is making me sweat. He’s ten minutes late to our Zoom meeting, and at this stage, I’m unsure whether he’s forgotten, or I’m unwittingly engaged in some kind of power play.

Something I realised in preparing for this interview is that almost everyone has something to say about either Jeff Koons as a person or his work. One of my favourite anecdotes goes something like this: “My friend went to a house party and had sex beneath a Jeff Koons, and said it was the way they’d like to die someday.” When I heard it, I thought that’s probably exactly the type of story an artist who is famed for making explicit artworks of himself and his ex-wife Ilona Staller (who was also a porn star known as La Cicciolina) and shiny balloon sculptures would love to retell to fawning art collectors at swanky gallery openings in New York. It’s hard not to make assumptions about one of the world’s most famous and controversial artists.

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Jeff Koons, Balloon Dog (Red) (1994–2000). © Jeff Koons, photo: Mike Bruce, Gate Studios, London/Courtesy the Royal Academy of Arts, London

A young, attractive woman (one of Koons’s studio assistants, perhaps) enters the screen to test the audio and camera, before he finally sits down, checks his ‘earpods’ are in place and gives me a Hollywood smile. At 66 years old, with gleaming white teeth, a full head of hair, barely any visible wrinkles and the glow of health, Koons could pass for early forties. He speaks precisely and slowly, maintaining eye contact and frequently dropping my name into the conversation, which has the destabilising effect of making everything he says seem both deeply profound and strangely orchestrated. “Millie,” he says mysteriously at one point. “What’s really interesting and beautiful about art is that what’s relevant and new is really quite ancient.”

Jeff Koons, Michael Jackson and Bubbles (1988). © Jeff Koons. Photo Tom Powel Imaging

Rising to prominence in the mid-1980s in New York, alongside Jean-Michel Basquiat, Richard Prince and Keith Haring, Koons has long advocated the idea of ‘accessible’ art. He takes everyday objects and pop icons as his subjects, often rendering them at a huge scale to disrupt cultural hierarchies and unsettle the viewer’s sense of perception. Of the making of Michael Jackson and Bubbles (1988), for example, a white and gold porcelain sculpture of the musician and his monkey, the artist says, “I was really trying to make a connection with Renaissance sculpture and to show that something we can acquire in a gift shop can have this important meaning to us in life, and as much relevance to excite and stimulate us as the Pietà.”

Read more: Sophie Neuendorf on new wave collecting

Over the years, critics haven’t been so open-minded. His work has been variously labelled as “vacuous”, “crude” and “lazy”, but this has only increased his popularity. In 2019, Rabbit (1986), a metre-tall stainless-steel copy of a plastic inflatable bunny, sold for more than $91 million at Christie’s, breaking the record for a work by a living artist sold at auction set in 2018 by David Hockney’s 1972 painting Portrait of an Artist (Pool with Two Figures), a record previously held by Koons himself. That might seem like an eye-watering price, but his work is highly technical and expensive to produce, which has, in the past, led to delays in completion and major lawsuits. In 2018, billionaire financier Steven Tananbaum sued Gagosian over the delayed delivery of three of the artist’s sculptures. Then, earlier this year, the artist shocked the art world by announcing his decision to drop both Gagosian and David Zwirner and to be represented worldwide exclusively by Pace Gallery, stating, “The most important thing to me is the production of my work and to see these artworks realised”.

Jeff Koons, Rabbit (1986). © Jeff Koons. Photo Tom Powel Imaging

The desirability of his work comes not just from the promise of drama and luxury. There’s also an appealing sense of playfulness, nostalgia and recognition to be found in his vibrant colours and simple visual language that recalls a childlike innocence. “When we’re young, we’re more curious. We absorb tremendous amounts of information very quickly because we’re open,” he says. “Eventually, people start shutting down and making all of these judgements. I try to open myself up to everything.”

Koons is a ‘conceptual’ artist: a visionary, rather than a maker. He has multiple studios and a team of more than fifty people producing the ideas that he dreams up. It’s an approach to art-making that allows him to “have feelings and sensations, but not to be dependent on the hand”. It also allows him to pursue “Duchampian ideas” by taking a more “objective” viewpoint. Whether one can truly detach oneself from one’s own thoughts is debatable, but what’s important is the intention behind the work and, for Koons, that often comes from a personal experience or encounter with a material, colour or form. As a younger artist, for example, he recalls buying a pink inflatable rabbit and a yellow and green inflatable flower which he placed on mirrors propped up against the wall. “The colour, the reflection and this association was so intense, I had to go have a couple of beers to really come down from the excitement,” he says.

Koons photographed in his Manhattan studio in 2021 with a work in progress. Photograph by David Taggart

His focus now is more on being in dialogue with the viewer than himself. “There’s joy in sharing the human potential with others, instead of just with the self,” he says. This idea of exchange is perhaps most evident in the artist’s ‘Gazing Ball’ series (2012–) in which he places a blue, mirrored, hand-blown glass gazing ball within a classical piece of art, such as Leonardo’s Mona Lisa. The ball reflects the surroundings and the viewer, literally drawing them into the work of art. For Koons, the object relates to his childhood in York, Pennsylvania where he recalls seeing gazing balls in people’s gardens. “I’ve always loved the generosity of [the gazing ball], but also that it’s a lawn ornament. It’s something that can be looked at in a very profound way and at the same time it’s frivolous,” he says.

Read more: How Durjoy Rahman’s art foundation supports cultural collaboration

Gazing Ball (da Vinci Mona Lisa) (2015). © Jeff Koons. Photo Tom Powel Imaging

The same could be said for many of Koons’s sculptures, which, at the very least, teach us that outward appearances can both charm and deceive. The reason he so often works with stainless steel is that it’s both highly durable – “A kind of a proletarian material; if people wanted to melt [the works] down to make spoons, forks, pots and pans, they could,” he says – and shiny in appearance. One of the artist’s most iconic pieces, Balloon Dog, explicitly plays with these material qualities by suggesting the bulging soft surface and lightness of a balloon while harnessing the sculptural strength of the metal. “Only the surface has a visual luxury, and when I say a visual luxury, I’m speaking about the excitement of stimulation, reflection, abstraction and change,” he explains. “That’s the type of luxury that my works are interested in.”

Jeff Koons, Seated Ballerina (2017) at the Rockefeller Center, New York. © Jeff Koons. Photo Tom Powel Imaging

Has the material worth of his work changed the way he feels about his practice, and art in general? “I love art, I love the idea of how it can really better the lives of people as an educational tool. It informs us, not only of our history, but of all the human disciplines, how we can incorporate them, fit them into our lives. It’s always a dialogue about becoming,” he says. “If the market, at some point, became interested in me, I’d like to believe it was because I was able to communicate some of those ideas to people, and that they found relevance in the belief of this type of transcendence.”

Find out more: jeffkoons.com

This article was originally published in the Autumn/Winter 2021 issue.

Idris Khan in his studio with new works incorporating musical scores. Photograph by Maryam Eisler

Idris Khan is one of the world’s hottest abstract artists, drawing on his Muslim heritage to create works that gain a different meaning every time you look at them. Darius Sanai meets him in his London studio to discuss colour, the Koran and his suburban childhood, while Maryam Eisler photographs him

I first met Idris Khan on a plane. We were flying back from a private view of an exhibition in Baku, where both he and his wife Annie Morris have had their works shown in the Zaha Hadid-designed Heydar Aliyev Center.

Idris was scrawling through some photographs he had taken on his iPad. They showed aspects of Hadid’s then new design in an abstract, mystical, almost humorous way. I said I wanted to publish them in one of the magazines I edited for Condé Nast; after a little persuasion, he agreed.

At that stage, I had no idea that Idris, one of Britain’s most prominent painters and sculptors, had originally trained in fine art photography. It explained the richness of the images I saw on his iPad that he had taken just for his personal pleasure.

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It is, in fact, hard to classify Idris, hard to pin him down. As he points out in the interview below, even his ethnicity is not quite what it seems: he possesses a completely Islamic name, but is half Welsh and was born and educated in the UK. Tall, slim and fair-skinned, he could pass as any Englishman in the lanky Jarvis Cocker mould; but he was actually brought up as a devout Muslim by his father, a surgeon from Pakistan who had settled in Birmingham.

His art is also deceptive. He has created his own, distinctive and trademark shade of blue, known informally as ‘Idris Khan blue’, through blending ultramarine and Prussian blue; yet he is a sculptor and maker of 3D objects as much as a painter.

Every time I meet him, he is gentle, thoughtful, disarmingly self-deprecating, and not in a staged way. But there is an intensity and steeliness there, and originality of thought amidst the lightness of touch, that has allowed him to become the celebrated artist he is.

One of the artist’s works with stamped texts

We meet at his studio in an artistic area in east London. It is a striking, warehouse-type building on a single floor; his wife, the acclaimed sculptor Annie Morris, occupies a near identical studio next door. Walking into Idris’s studio, you find yourself in front of a long, wide art table with paints and objects neatly lined up. There is a multitude of materials, but it is the tidiest studio I have seen.

At the back, behind the glass partition, is his office; behind his desk are stamps of lettering he creates for some of his works. They are artworks in themselves. A passageway off to the left leads to an open-plan kitchen area which opens out into Morris’s studio. She is there, working on a spectacularly coloured array of sculptures and stained glass; she chats to us for a while before returning to her own works.

Khan has been commissioned to be the Lounge Artist for Deutsche Bank at Frieze London 2021, where the artist will be creating an immersive blue environment. Meanwhile, I look on while Maryam Eisler photographs him in a variety of locations in the studio for our cover, and then he and I settle down on suitably socially distanced chairs to chat.

Photograph by Maryam Eisler

LUX: Was there anything in your background to suggest you would become an artist?
Idris Khan: I had a very normal suburban upbringing: my father was a surgeon and mother was a nurse and I was a really sporty kid. It was probably through education that I sort of fell upon becoming an artist.

Read more: The eco-art organisation making a stand at Frieze London

LUX: So, when you were single digits, were you doing artistic things?
Idris Khan: No. I can remember loving to draw, but the creativity came late, probably when I was around 17 or 18. I went to do a foundation year and it was photography that gave me the keys or the tools to go on and express myself in an artistic way.

Photograph by Maryam Eisler

LUX: There was no plan to become an artist?
Idris Khan: No, I wanted to be an athlete. It was strange. I loved running – that was my top sport. But it just didn’t work out and it was just like, “What’s the next thing, the next best thing you’re good at?” It’s funny, isn’t it? That weird pressure when early on you want an artistic career, especially when two professional people – my parents – were saying, “Well, you know, graphic design is what you need to go into.” And I was thinking, “Hmm, I don’t want to be a graphic designer… my portfolio is full of photographs and beautiful things.” And from no understanding of that kind of career, I had to fight for it. I went to Derby University to study for my photography BA and had great teachers there and that helped me. They paved the way for me to come down to London to do my master’s at the Royal College of Art.

LUX: Did you always expect to be an abstract, conceptual photographer?
Idris Khan: Very much so. I never really saw myself as someone who was going to be a landscape photographer or go out into the world and take those kinds of pictures. I was already a studio-based photographer and for some reason I always liked photographing very still things. It’s interesting – when you’re a student, you’re sort of looking for things that you want to pursue in some way and so, I found myself going back into empty sports interiors. It’s kind of weird, the access a camera gives you to go into these places. So, I would photograph the walls of squash courts. I loved the marks that were made in the squash court wall. Somehow, when you frame those marks they start to look like paintings. They no longer look like a squash-court wall; the marks in the wall and the floor just started to have this energy, and there’s a certain element of stillness. It’s amazing that a photographer can get access to empty spaces like that. I’d say, “Oh, can I come and sit in your squash court for half an hour?” Normally they’d say no, but a camera gives you this licence.

Photograph by Maryam Eisler

LUX: And how would you describe yourself? An abstract artist? Or is that irrelevant?
Idris Khan: It is relevant. I think I always try and push that level of abstraction, whatever medium I’m working with. So, if I’m working with a photograph, I like the deception that you don’t know whether it’s a photograph or not, it just looks like my hand or marks made on a piece of photographic paper. I think it was about three or four years outside of college that I met Annie and she was the first person to say, “Well, why don’t you make a sculpture?” I did a bit of film and things like that, but she said, “You know what, there’s a great idea. You deal with layering photographs. Why can’t you deal with that same idea, but in different materials?” So, I made my first sculpture for which I sandblasted musical notes onto steel and used that same process of repetition and layering and time and the eradication of time, and then that sort of led itself into what I’m doing now with the big blue paintings and language eradicating language. Same idea, just pushed into different mediums.

Read more: Sophie Neuendorf on the Legacy of Valmont’s Didier Guillon

LUX: Musical notes and stamps of verses – why are they of interest, particularly?
Idris Khan: I think Islam probably gave me the sort of trigger to deal with repetition and language and the eradication of language. And the reason was that my father wanted us to become Muslims; we were praying five times a day, mosque every Friday afternoon… that’s what he wanted for us. And of course, it became an act of rebellion: first my brother, then my middle brother, then me. I said, “Well, now we’re not going to do this anymore.” But I can’t help that, somehow, that part of my life is inherent in what I do. So, talking of repetition for example, I find Islam very repetitive – returning to the prayer mat every day, repeating the same verses all the time. I remember very clearly my father saying, “Repeat after me, repeat, repeat after me…” – and that’s the way I was processing language. I didn’t know what I was saying. I think what I do is a reflection of that, to be honest. Looking back to my twenties, the work I was making and the way I was using language, I was kind of confused with the culture when I was growing up. Being the only white kid in the mosque, it was kind of a role reversal in terms of race. I was the white boy everyone was looking at and I felt uncomfortable. Am I using that way of linking something to my heritage or trying to eradicate it? That’s the kind of thread I could try and bring together.

Photograph by Maryam Eisler

LUX: And what’s your relationship with your heritage now?
Idris Khan: I don’t know. I really like the fact that I have it to tap into occasionally. I don’t think there’s many kids from that sort of background who actually do become artists. And I’d love to give back to that culture a little bit. I’m doing a proposal at the moment [for a spectacular public sculpture in Saudi Arabia] and I don’t think you could go there with a British name and delve into the Koran. But my name gives me access to be able to do that; there is that little bit of faith, perhaps, somewhere deep rooted, that I can engage with and have an idea and a concept that I can push.

LUX: So you feel that your name is more Islamic than you?
Idris Khan: Yeah, definitely.

LUX: Is that a drawback or is it just a thing?
Idris Khan: I think it’s just a thing. It’s funny when people see me and they haven’t seen a photograph of me or anything like that, they’re always very surprised by what I look like. Maybe I should just look a bit more exotic. I’m not sure, but I definitely think that’s the case.

LUX: Do you feel obliged to make art that your gallery can sell?
Idris Khan: It changes. I think when you were young, you obviously want to start working with a gallery straight away. I felt that I was very nurtured by Victoria Miro in London. I was a 24-year-old coming out of college, quite young for an artist to start working with a commercial gallery straight away. And what was in my mind at that time was if I was making something for sale. So, every show from then on adds more pressure to have a successful exhibition, meaning: does the work sell out? And I have found that over the past 15 years or so that the pressure to sell is much higher than it was. Because of the art fairs and the machine that is the art world, there’s a lot more pressure. I suppose that can spill into the artist’s mentality, but I don’t particularly care too much about that sort of thing. I like making bodies of work. Yes, we’ve got to keep the studio going and things like that, but I don’t like to say, “Okay, if I’m not going to have a sell-out show, then I’m a failure.” I don’t feel that pressure. Everybody likes to say, “Oh yeah, I sold out”. It never used to be like that. And so, what does that mean? Does that mean a successful show? I don’t know!

LUX: How do you control the pressure to sell?
Idris Khan: I like putting limits on the number of paintings; for example, six blue paintings at a particular size. And if you can put limitations on yourself, that’s important too, because otherwise you could just keep going. I could probably have made layered music pieces in black and white from 2006 for years, but I said no.

Khan with his stamp works. Photograph by Maryam Eisler

LUX: And what about museum shows?
Idris Khan: They’re different. I see them as giving me greater freedom to show a breadth of work rather than the usual commercial shows. It’s about what happened in those two years – you’re showing the work you’ve done during that time. What I love about what’s happening in Milwaukee in early 2023 [where the first US retrospective of his work will be held at the Milwaukee Art Museum] is that it’s a survey show of 20 years of my work. And it’s such an exciting thing to do, to bring your work together at different moments and look back and see the journey it has taken and how it has changed. You’re hopefully reaching a much bigger audience than comes for commercial gallery shows and a different part of the audience, too. I hope that part of my career develops more.

Read more: Inside Maja Hoffmann’s Provençal Art Hotel

LUX: What else would you still like to do?
Idris Khan: I’m working on a proposal at the moment [for a public artwork in Saudi Arabia], which is rather big. I’ve been thinking about it for three years. If I get that, it’ll be a wonderful thing to do. I just did a nice little piece of public art in London [65,000 Photographs at One Blackfriars in 2019]. There’s a real excitement when you make something like that, so I’d love to do more.

LUX: How often do you and Annie see each other during the day in the studios?
Idris Khan: You know, Annie is so busy it’s like, “Why would you be coming in here?” It’s only when I ask her to come over for an opinion or I go there, and she has an opinion. And it’s just not about art making. Sometimes it’s about selling a work and everything that comes with being an artist.

Annie Morris with Idris Khan in her studio.

LUX: How did you meet?
Idris Khan: In 2007, she was exhibiting at a gallery in west London. I had a mutual friend called Rebecca in New York. In fact, the first time I met Annie, Rebecca said, “You have to meet Annie Morris.” And then she told me that she was coming to London and said, “You’ve got to come to Annie’s exhibition”. I went but I was a bit lazy, thinking, “God, west London, it’s too far…”. But I went and then she had a show in New York in the same month that I was having one and I flew in to see it and, you know, there’s no lie here, we’ve been pretty much together 24 hours a day since then. She moved in after a month. Got engaged after five.

LUX: Are you very similar as people or just matching?
Idris Khan: Is Annie louder? Perhaps! I suppose maybe similar but different energies. What’s great is we both respect each other’s work massively. I mean, now I’m moving more into colour. That’s probably because I can’t get away from all the colour next door. I was very much monotone, you know, with my black and white works, and then there has been this sort of explosion. She will probably get into more monotone, hopefully! There’s unbelievable respect and influence in both directions.

LUX: Annie is Jewish, you were brought up a devout Muslim. Is there relevance in that?
Idris Khan: I think if Annie was a lot more practicing, then maybe. I mean, there’s definitely choices of faith: holidays, things like that. And the kids weirdly see themselves as Jewish, or want to be more Jewish. They want to have a connection to a religion, which is kind of interesting. I don’t know whether that’s because of the schools they’re going to or whatever, but they quite like to say, “My mother is Jewish, so I am too. My father’s Muslim, but because it’s my mother, that’s what we are.” I’ve got absolutely no problem with that. They like to learn about both faiths as well. I think it’s one of those questions which doesn’t necessarily come up, but it could one day. Maybe the show in Israel [at the Alon Segev Gallery, Tel-Aviv, in April 2022] will be kind of an interesting place to look at that. Could I start using the Torah? Can I use Hebrew to make a painting? Could I combine Arabic and Hebrew together in a painting? What would that look like? That show will be a good excuse to be able to do something like that.

Collaborations with Frieze and Deutsche Bank

Idris Khan took over the Deutsche Bank Wealth Management Lounge at Frieze London this October. “I’m making the Lounge into this kind of blue world with blue carpet and blue paintings. You’re going to be walking down the corridor from the fair, with one of my works made into wallpaper which becomes very immersive, into the lounge. I’m also going to be showing a huge array of the stamps that I have made my paintings with over the past 10 years. I’ve made quite a lot of these stamps – probably over a hundred thousand – but it is the first time I’ve actually exhibited them as an installation. What I really love about them is that they become relics of the paintings. I mean, not many artists can say, ‘Well, here are my brushes’. They’re interesting things as they’re still objects in their own right. Even having been along a kind of journey as paintings, they exist as there are these passages of writings in blocks. I’ll be showing shelves and shelves of these.”

He has also created artworks for the first exhibition, also to be launched in October this year, in a new programme of art to be shown at Deutsche Bank’s new offices in the former Time Warner building on Columbus Circle in New York. “I’ve made four large grid paintings using watercolour and sheet music. Each is a set of nine different variations on a colour tone from blues, reds and greys based on colours of the seasons. I like working with a grid of colour – it’s like looking at the colours of the seasons in one instant. And Annie will be showing a large sculpture there as well. We’re looking forward to seeing it all installed. Hopefully it will be a real explosion of colour as you walk into the space.”

Find out more: victoriamiro.com

This article was originally published in the Autumn/Winter 2021 issue, for which Idris Khan designed our logo.

María Berrío, ‘Anemochory’, 2019

New York City is a buzzing city known for its love and support of art and culture. The city is now making up for lost time since the pandemic and celebrating life and the endurance of the human spirit. As the 10th Edition of Frieze New York opens today, Sophie Neuendorf tells us what she’s most looking forward to this week

Having lived in New York for most of my life, I have a soft spot for Frieze Art Fair. In fact, the entire “Frieze Week” is always an eye-opening, immersive experience. There’s even more energy in the city than usual, and it really heralds the beginning of Spring art season.

Opening on May 18, Frieze Art Fair will welcome visitors to The Shed on West 30th for the second year. It’s also Frieze NY’s 10th anniversary edition and the first under the stewardship of new director, Christine Messineo.

Performance shot of Aphrodite Navab from The Homeling, ‘Ink and Lipstick on Paper’, 2017. Aphrodite Navab is represented by A.I.R.

What I particularly enjoy about Frieze New York is its meticulous programming and marvellous events, with well-curated shows, gallery openings, and spotlights on up-and-coming artists. This year, in a touching tribute, Frieze is celebrating New York-based non-profit organisations that have also seen significant anniversaries over the past year. These include A.I.R., Artists Space, Electronic Arts Intermix and Printed Matter, Inc. Frieze New York will highlight and honour each organisation and celebrate their continued contribution to the New York cultural landscape.

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In an especially poignant tribute to current events, A.I.R., the nation’s first all-female artists co-op gallery, will respond to the seemingly imminent overthrow of the landmark court case Roe v. Wade with Trigger Planting, a map of U.S. states where abortion will likely be outlawed. Interestingly, it will be made with herbs traditionally linked to fertility and reproduction.

Baseera Khan, ‘Braidrage’, 2017-ongoing. Performance, duration variable. Photograph documenting performance at Participant Inc., New York, 2017. Courtesy of the artist and Simone Subal Gallery, New York. © Baseera Khan. Photo by Maxim Ryazansky

According to Messineo, the participating organisations’ “support of emerging visual and performing artists, especially women, Black, and LGBTQ practitioners, reflects the spirit of many of the artists exhibited at this year’s fair.” Continuing that, “The mission of these organisations remains as urgent as when they were founded in the 1970s, and Frieze New York pays tribute to their creative lives.”

Charles Gaines, ‘Numbers and Trees: London Series 2, Tree #1, Blomfield Street 2022’. Courtesy of Hauser & Wirth

With 65 galleries showing at the fair this year, it’s going to be tricky to select favourites. However, a few of my must-sees are Alice Neel and Tracey Emin at Xavier Hufkens; Maria Berrio at Victoria Miro (the proceeds of this work will support Unicef’s humanitarian response in Ukraine!); Luiz Roque and Solange Pessoa at Mendes Wood Gallery (both artists are showing at Biennale); and Charles Gaines at Hauser & Wirth.

Read more: Sophie Neuendorf’s Inside Guide To The Venice Biennale

One of my favourite fairs, Volta, is finally returning to New York after a few tumultuous years. Opening with 49 international galleries, it will now take over 548 West 22nd Street, most recently home to Hauser and Wirth but best-known as the longtime home of the Dia Foundation. In contrast to the blue-chip heavy-weights showing at Frieze, Volta caters to a middle market. I’m particularly looking forward to seeing their eclectic mix of galleries and artists, from Istanbul to Tokyo, Berlin and Lebanon.

VOLTA Art Fair. New York City. Photo: David Willems

Also returning after a three year hiatus, 1-54 Contemporary African Art Fair is opening with presentations from 25 galleries. In a surprising departure from the usual locations they were previously in the west village and red hook), the fair is moving to Harlem this year, the city’s historic African American enclave. This is perhaps a tribute from a fair dedicated to art from Africa and the African diaspora. Look out for one of their special projects, an NFT collaboration with Christie’s.

Amnesia Atómica, ‘Zero Nukes’

From an inflatable mushroom to the celebration of 20 chefs at the Brooklyn Museum, there’s a lot going outside the fairs. Apart from the Frick Collection, which is always worth a visit, not only for the collection but as an oasis of tranquility, I’ll be rushing to these exhibitions:

1. Amnesia Atómica NYC: Zero Nukes, at Times Square. This oversized, inflatable mushroom cloud sculpture by Mexican artist Pedro Reyes will spend the week in the heart of Times Square as part of an effort to raise awareness of the anti-nuclear movement.

2. Barbara Kruger: Thinking of You. I Mean Me. I Mean You. at MoMA, because Barbara Kruger is an icon and one of the most important artists of our time.

Barbara Kruger, ‘Thinking of You. I Mean Me. I Mean You.’

3. Baseera Khan: I Am an Archive at the Brooklyn Museum, which explores the lived experiences of people at the intersections of Muslim and American identities, both today and throughout history.

In this year’s Frieze Week, the art world seems especially sensitive to current events and taking the time to highlight internationally important socio-political issues, maximising the soft power of art and culture to affect positive change. In turbulent times, the art world can be a beacon of hope and strength.

Sant Ambroeus restaurant, New York

For those looking for lighter entertainment to mix it up, London-based luxury fashion retailer Matches, who’ve collaborated with Frieze London on several occasions, opened a pop up shop on 160 East 83rd Street. Take a break and browse the latest high-fashion summer collections as they celebrate Frieze Week in the city. Relax at Sant Ambreous in between and above all, enjoy the New York City energy.

Castle View Bedroom

Why should I go now?

The Scottish capital is at its most glorious in late spring, bathed in light for 18 hours a day. The student population gives it extra life, and the big tourist crowds of high summer are not yet here. The Sheraton Grand is in a perfect location: many rooms have views to Edinburgh Castle, a forbidding looking edifice on a hilltop across the gardens from the hotel, and it’s at the end of Prince’s Street, the main drag.

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What’s the lowdown?

There are Sheratons and Sheratons, and LUX would like you to understand that this one is grand in both name and nature. It’s a relatively modern building with a light, airy restaurant and bar, casual chic in style and contemporary in feel. And the jewel in the crown is its spa facilities, unrivalled in urban Scotland: a huge indoor pool, and extensive rooftop vitality pool area.

Hammam at One Spa ©2018 Matthew Shaw

Too often, rooftop pools in cities are tiny things; in this case the vitality pool is vast, and has sweeping views for you to take in while breathing the clear air gurgling down from the nearby Highlands. There’s an indoor vitality pool also, in case the weather gets really bad, though the outdoor pool is well heated so we can’t see why we wouldn’t use it.

The outdoor hydropool at One Spa

Getting Horizontal

Our bedroom had big windows and a big view over to the Castle; to its left, people wandered up and down Prince’s Street Gardens; to its right, a sheer rock face more redolent of the Highlands than a city. There was an overarching sense of space and light, so much so that for one dinner we decided to dine in-room, enjoying a very long summertime twilight and some excellent quality, simple cuisine done well: a salmon salad and green vegetables, some local ale. Furnishings were soft and quite masculine.

Read more:Switzerland, our top pick for summer

The Club Lounge ©Matthew Shaw

Flipside

The hotel is modern, spacious and comfortable, although if you’re looking for a historic interior, you won’t find it here. We loved the efficiency and comfort, and there are plenty of historic buildings to visit in Edinburgh.

The Grand Suite Living Room

Rates: From £321 average per night (approx. €380/$400)

Book your stay: marriott.com/hotels/sheraton-grand-hotel-and-spa-edinburgh

Darius Sanai

Photograph of the Zermatt valley by Sheherazade Photography

The yacht’s being refurbished, you’ve done Ibiza too many times, the Hamptons are too cliquey and Bodrum is so 2021. So where to head this summer? Allow LUX to offer you some recommendations from one of our absolute favourite summer destinations (and no, this is not paid-for content): Switzerland

Switzerland in summer: panoramic views, (mostly) blue skylines, clean air, no crowds, teeming wildlife, one of the highest concentrations of Michelin-starred restaurants in the world, some of the best hotels in the world, and activities from kitesurfing and kayakking to glacier skiing and wine tasting. What more could you want? Perhaps, just a little guidance through the options, to get the very best out of your Helvetian experience.

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1.Zermatt
Zermatt is, in effect, the epicentre of the Alps, in a valley surrounded by more than 30 of the highest peaks in Europe, which glow white with permanent snow even on a hot summer’s day. And it’s usually warm and sunny here: the resort is on the border with Italy and if you take a telescope to the top of its highest peak, Monte Rosa, you can see the spire of Milan cathedral.

Every type of mountain activity is available, including summer skiing at the top of a Swarovski crystal-encrusted cable car. It is also a paradise for mountain dining, with more fine dining spots than St Tropez, better views, and fewer crowds. Try the Findlerhof for its beautiful local farmers’ meat and cheese platter, and epic Matterhorn views; and Restaurant Zum See for an idyllic gourmet experience in a meadow at the foot of the peaks. In the village, we had a highly memorable meal at the restaurant in the hotel Omnia, all pared-back boutique chic and astonishingly vibrant flavours.

The view from a bathroom at The Cervo Hotel

Stay at: The Cervo is Zermatt’s eco-resort, and its owner, Daniel Lauber, is a passionate and thoughtful sustainability pioneer. One of the most thoughtful sustainable hospitality experiences, from the biodegradable slippers to the renewable energy heating system – tough, at 1600m altitude. The food, all sourced locally, is both hearty and magnificent and the staff have risen impeccably to the challenge of finding excellent wines and cocktail ingredients with a local remit.

2.Badrutt’s Palace, St Moritz

Badrutt’s Palace Hotel, St Moritz

Badrutt’s is St Moritz, or so you will probably think after staying there. The hotel dominates the valley and lake like a citadel. The service became legendary even before the former Shah of Iran flew its staff out to serve a banquet marking 2500 years of the Persian Empire at the palace of, near Shiraz, in 1972. It’s the kind of hotel where the staff know what you’re thinking, before you do.

Read more: A Tasting At One Of The World’s Great Champagne Houses

The facilities make it, effectively, a holiday in one property: huge indoor pool with picture window, lawns and gardens (in the middle of St Moritz!), fine dining in a formal banquet hall which makes you feel like Audrey Hepburn (whoever you are), and across the road, its own pizzeria at Chesa Veglia – in reality a top social spot in its own right. And the views across to the mountains are inspiring.

3.Gstaad Palace

The piscine at Gstaad Palace

The Palace is a hotel that will whisk you into the jazz era even by thinking about it. This is a place where generations of European aristocrats have visited to stay and dine at; or to play tennis on its impeccable clay courts, or dance at its Greengo nightclub (in summer, it incorporates the indoor pool as a bar and terrace). It’s a perfect base for walking tours, or for strolls around Gstaad’s chi-chi high street, or just to exist in and take the air and dream of eternal youth.

4.The Alpina Gstaad

The Alpina Gstaad

Two luxury hotels in one place? Mais oui; the Palace and the Alpina are like Meursault and Margaux, we couldn’t live without either of them. The Alpina has contemporary style and vibrancy within the envelope of Alpine glamour (unlike some new luxury hotels in the Alps, it’s not pretending to be in Brooklyn), an outdoor pool with heart-melting views over the mountains, an equally gorgeous indoor pool and spa, and one of our favourite Japanese restaurants outside Japan.

5.Dinner at the Nira Alpina

Nira Alpina Stars Restaurant

The Nira Alpina is a hotel and restaurant resort on the edge of the high Engadine valley, between Lake Sils, inspiration for poets and artists, and buzzy St Moritz. Its rooftop restaurant, Stars, has a dramatic view across the valley and lakes where daytime kitesurfing gives way to reflections of the moon by night, and over to the jagged mountains on the other side. It’s at the foot of the Corvatsch mountain, which makes for energetic hiking in summer; at the end of a long walk down from the Fuorcola Surlej pass, we love indulging in a glass of Franciacorta here, followed by a bottle of vibrant Chardonnay from the nearby Bündner Herrschaft wine region, accompanied by its delicate, locally-sourced mountain food, big on herbs and vegetables from the nearby high valleys. We haven’t stayed at the hotel, but the restaurant is an experience in itself.

Black-Figure Chalcidising Eye-Cup, Greek, Attic, circa 520 BC Pottery Diameter: 29.2 cm

As the second edition of Eye of the Collector opens its doors tomorrow at London’s Two Temple Place, the founder, Nazy Vassegh, tells LUX which pieces to look out for

I am writing this column after a long and busy first day installing the second edition of Eye of the Collector. Free of the normal white tents and gallery booths, we have been working for the past six months with our participating galleries to curate a new type of show that encourages creative new dialogues and collecting pathways.

Over one hundred and fifty works from three thousand years of art history have arrived in the past days, each one to be hung with care and consideration ‘as if in a collector’s home’. The whole event is set against the stunning backdrop of Two Temple Place, a neo-gothic masterpiece built in the late nineteenth century for William Waldorf Astor. Our aim is to make the experience of visiting an art fair an enjoyable journey of discovery.

When you enter the private space of an art collector there are always surprises, works that unexpectedly fall outside of their main collecting categories, ‘cri de coeur’ purchases or inherited pieces passed down through generations. It is this curatorial excitement that we strive to recreate through the juxtaposition of works at the fair, suggesting new ways of collecting.

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This year we have a broad cross section of galleries representing the international canon of art history.

Starting at one of the earliest works, I totally adore this Chalcidising eye-cup being brought by Ariadne Gallery. A drinking vessel for toasting the gods, as the wine went down so the head of Medusa would appear inside.

From the Horn of Africa, we welcome Addis Fine Art to the fair this year, representing some of the greatest artists from Ethiopia and the diaspora. I have been so impressed by the quality of painting led by Tadesse Mesfin, and continuing through two of his students also on show Tizta Berhanu and Nigatu Tsehay.

Nigatu Tsehay (b. 1981), Momentary Glimpse XXV, 2021 Acrylic on canvas 79 x 71 cm

After the Second World War, many of Europe’s artists left in pursuit of a socialist ideal in the Americas. Some of the most talented ended up in Brazil where the Modernist movement was growing rapidly. This year we have some of the finest works from this period being brought to the fair by Ana Escarzaga Gallery, a specialist in that period. My personal favourites are a pair of chairs made by the trailblazer Lina Bo Bardi, designed originally for her own home Casa de Vidrio in São Paulo in the early 1950’s.

Read more: The Inspiration Behind The Eye Of The Collector Art Fair

Following this year’s theme concentrating on the importance of female artists throughout history, one work that has really touched me is Leni Dothan’s Sleeping Madonna, 2011. This video work, showing the artist breastfeeding her young son, is a direct reference to the canon of Christian iconography and grand master painting where the female figure of Mary Magdalen is often portrayed as passive and alone.

Lina Bo Bardi (b. 1914), “Bola” chair, circa early 1950s. Designed for her own house, “Casa de Vidrio” in São Paulo, this is an edition done in 1980 by Nucleon under Lina´s supervision. Saddle leather with a beautiful patina, black painted iron structure, solid & heavy brass balls and bolts.

Emblematic of the spirit of discovery at the fair are the sublime works by Alice Walton. With a forensic eye, Walton produces highly complex and multi-layered objects infused with a rich tonal blending technique. These textured surfaces are intense and yet calm.

Alice Walton (b. 1987), The Travelling Portland, 2021 Jasper Clay H34 x W20 x L17 cm

Continuing the theme of female artists, we are delighted to have an important work by Australian female First Nation artist Nyarapayi Giles. Unusual amongst her peers, Nyarapayi embraced vibrant colour to tell the story of her life. The subtle and flowing application of paint shows great originality; the style she has developed is readily recognisable and unique to her works.

Nyarapayi Giles, (b.c.1940), Warmurrungu – Two Circles, 2016 Acrylic on canvas 179 x 148 cm (Framed)

The first edition of Eye of the Collector last September was a great success. We had always said we would be happy if we managed to get 3000 people through the door over the four days. We have nearly half that booked now for VIP Day alone tomorrow.

Tickets are available at eyeofthecollector.com for Thursday 12th, Friday 13th and Saturday 14th May 2002

Argonne Aÿ Grand Cru 2013

Ella Johnson visits the oldest family-owned champagne house, Henri Giraud, to taste some of its celebrated cuvées, and hear about the importance of the use of sustainable oak from local forests in its unique ageing process, with twelfth-generation owner Claude Giraud and winemaker Sébastien Le Golvet

Henri Giraud has been producing champagne since 1625 and is still owned by its founding family – a rarity among Champagne’s oldest houses. Together, twelfth-generation owner Claude Giraud, and winemaker Sebastien Le Golvet create their celebrated (and very expensive) champagnes which combine richness, freshness, and saline qualities, from their vineyards in Äy, on the southern cusp of the Montagne de Reims, in the heart of the Champagne region.

Claude Giraud, CEO of Henri Giraud is the 12th generation to lead the estate

The richness comes from the pinot noir grapes, which are warmed by the sun on the south-facing slopes of the Montagne. The River Marne, flowing past the property, provides their wines’ freshness; and saline and mineral qualities come from the 200 metres of pure chalk beneath the soil.

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But their champagnes have something else. They are fermented and matured in oak barriques (small barrels) sourced from the Argonne Forest, which stretches from the flatlands of the east of the Champagne region to the hilly border with Lorraine. The forest has been at the heart of European history for millennia and, for each bottle of the Argonne cuvée sold, Henri Giraud plants new two-year-old oak trees and maintains them for five years to replace the oaks they fell to create their barriques.

Henri Giraud is committed to replanting and maintaining the same number of oak trees that they use to create their barrels, in order to ferment their champagne

So-called ‘kings of experimentation’, Giraud and Le Golvet have identified ten different terroirs in the Argonne Forest, which they use to intensify the complexion of their wines. They know that if they create barrels from the oak trees which come from a plot called Les Châtrices, for instance, the wine will have a lot of “sharpness and tension”, they tell me. If they use another terroir in the forest, Lachalade, “it will be richer and rounder”.

Sébastien Le Golvet has been making champagne at Henri Giraud since 2000

Le Golvet prefers to vinify the majority of his wine in these oak barrels. He meticulously tastes and memorises each one – 1,200 in total – in order to produce the perfect blend. It would be more efficient to produce the Maison’s 300,000 yearly bottles of wine in tanks, of course, but efficiency is not the endgame. ‘When Sébastien creates his wine, he is like an artist in front of a painting. He can create different colours. The result is just in a bottle,’ says the Maison. The remaining ten percent is vinified in egg-shaped amphorae, made from sandstone, which provides the fruitiness for which the Henri Giraud Dame-Jane rosé cuvée is famed.

Fût de Chêne MV17

Champagne Henri Giraud has changed since Le Golvet took the winemaking reins from Claude Giraud in 2000. ‘Claude’s wine was much richer.’ I am told. ‘Sébastien is more precise, young. He has a different style. The more difficult the vintage, for Sebastién, the better it turns out. It’s the challenge. But both want to try new things each year, to discover more and more terroir’.

Read more: A tasting of Dalla Valle wines with the owners

It is fitting, then, that neither Le Golvet or Giraud is able to choose their best wine to date. ‘I like to say that the best wine we have ever produced is the wine we will produce tomorrow. The wines become more precise each time.’

Henri Giraud has been producing the finest champagnes since 1625

We sample their Fût de Chêne MV 17 and Argonne Aÿ Grand Cru Brut 2013 in their tasting room. These are huge, rich champagnes despite the balance and limpidity, and Giraud breaks out a box of the perfect match for them. Not foie gras (which we would in any case have declined) or an aged Pecorino Romano cheese (which would have gone rather nicely), but some Cohiba Behike cigars. The king of cigars went rather well with this, Champagne royalty.

Find out more: champagne-giraud.com