green and black car
old yellow car

1938 Bugatti Type 57 C Stelvio Cabriolet

Maarten Ten Holder, Managing Director of Bonhams Motoring, tells LUX his top picks at Les Grandes Marques du Monde in Paris, ahead of the sale on Thursday 3rd February 2022. A sale which features cars being sold up to £2,100,000
a man standing by a black car

Maarten Ten Holden

Les Grandes Marques à Paris, Bonhams’ European season-opener is an event I look forward to every year. Traditionally held at the Grand Palais, located between the Champs-Elysees and the Seine, this venue is one of the more spectacular settings for our many international car auctions.

This year, the sale has relocated to the Grand Palais 2.0, le Grand Palais Éphémère, a stunning temporary building which is serving as the city’s exhibition space during the restoration of the original. Located on the Champs-the-Mars, right at the foot of the Eiffel tower, this modular, sustainable structure is not only environmentally friendly, but through its design and location, might even outshine its historical sibling.

But there is more: inspired by the glamour of Éphémère, we decided to add a new luxury sale of more than 125 watches to our series of sales in Paris, which is the perfect complement to our regular line up.

We will present more than 100 of the most exquisite collectors’ cars, from the pioneers to contemporary supercars. Creating a shortlist has proven a tricky task, but here are just a few of my top picks…

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1964 Porsche 904 GTS, estimate €1,300,000 – 1,600,000
One of the biggest racing stars of the 1960S, the mid-engined Porsche 904 GTS sportscar was owned by a star: the Hollywood great, Robert Redford, who drove it for nearly a decade. The model was called the ‘giant killer’ for its success in such famous events as the Monte Carlo Rally.

A green car

Robert Redford’s Porsche 904 GTS

2015 Ferrari LaFerrari, estimate €2,000,000 – 2,500,000
The F1-inspired hybrid hypercar was described by Ferrari as its most ambitious car, with its electric motor and V12 petrol engines combining to create a staggering power output of 950bhp. This rare yellow example has only driven 930km from new.

A yellow ferrari in the snow

2015 Ferrari LaFerrari Coupé

‘Le Patron’ 1938 Type 57C Special Coupé, €1,600,000 – 2,000,000
The Paris sale always showcases the finest French cars; and this Art Deco beauty is truly special. Known as ‘Le Patron’ it was named after and used by company founder Ettore Bugatti himself and its bespoke coachwork is believed to be the final design created by his son Jean.

green and black car

‘Le Patron’,1936 Bugatti 57C

1996 Bugatti EB110, estimate €1,100,000 – 1,300,000
The most modern of the five Bugattis offered in Paris, the record-setting EB110 supercar was the brainchild of Italian businessman Roman Artioli who revived the brand. The era’s fastest series production sports car has a top speed of 340km/h thanks to its turbocharged V12 engine. This example is one of only 95 GTs produced.

A blue Bugatti by the sea

1996 Bugatti EB110 GT Coupé

1902 Panhard & Levassor Type A2 7HP Tonneau à entrée par l’arrière, estimate €300,000 – 360,000

From the dawn of motoring, this is a remarkably authentic example and one of the best survivors of its genre. It has retained its original engine, coachwork and even leather trim. This car also has successfully completed the famous London-to- Brighton Veteran Car Run with its owner.

an old style black car

1902 Panhard & Levassor Type A2 7HP tonneau à entrée par l’arrière

Read more: ADMO: Alain Ducasse & Dom Pérignon’s Ephemeral Dining Experience

Michael Schumacher’s 2010 Mercedes-Benz C63 AMG Estate, estimate €50,000 – 100,000 (No Reserve)
This was the daily driver of a true motorsport legend, seven times Formula 1 World Champion Michael Schumacher. It was his company car when he joined the newly formed Mercedes GP Petronas Formula 1 Team in 2010. Not surprisingly, this top of the range C63 was equipped with €20,000 in luxury options.

A black Mercedes-Benz

Michael Schumacher’s 2010 Mercedes-Benz C63 AMG Estate

A preview of Les Grandes Marques du Monde will be taking place on Wednesday 2nd February 2022 and the auction will be held on Thursday 3rd February 2022.

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luxury ski hotel
luxury ski hotel

Suvretta House is surrounded by forest with sweeping views of the mountains

Why should I go now?

Seriously? Because January is the best month for winter sports in the Alps. Properly cold with powder snow, but, in the Upper Engadine valley by St Moritz where Suvretta House sits on its own forested ridge, with plenty of sun. It’s also refreshingly empty. Yes, St Moritz may be a place to socialise with the Von Opels and the Sachses, and you’ll be doing that at New Year and in March: this is a time to go and enjoy the mountains for what they are, and enjoy one of the greatest hotels in Europe when you’ll have the staff to yourself (well, not quite, but at least you won’t have the holiday season little princes and princesses underfoot in the hotel and on the pistes).

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What’s the lowdown?

A five star palace hotel with its own ski lift and piste to its garden (currently an ice skating rink) is a hard proposition to resist. But Suvretta House is much more than that. It’s a couple of hundred metres outside the limits of St Moritz, surrounded by forest, at the foot of the great Corviglia ski area, and has views across the broad, high valley to Lake Silvaplana and up to the other great mountain of the region, Corvatsch.

Unlike almost every other luxury hotel in the area, you can ski in and take a lift out; Suvretta House also has its own mountain restaurants. Trutz, high up the mountain, is a lunchtime bratwurst-and-rösti stop with broad views across to the Italian Alps. Chasselas, just above the hotel above the nursery slope, may look, with its lively and cheerful manager Livia, and its chequered-tablecloth-and-wood interior, like another cosy Alpine refuge, but it’s actually a refuge of cuisine as haute as its 1900m altitude. Essence of wild mushrooms with shiitake and agnolotti followed by lamb saddle with aubergine, Jerusalem artichoke and wild Brussels sprouts: simple but sophisticated.

Suvretta is actually a one-hotel dining itinerary. Arriving tired one lunchtime (St Moritz is quite a distance from the commercial airports if your Gulfstream has let you down) you may delightedly sink into the soft seats and jazzy ambience of the Stube – broadly translated, the cellar. But amid this gentle comfort, you will find refreshingly un-Alpine options: Endive and spinach salad with apple, walnut, dried cranberries, radish, fennel, quinoa and honey balsamic dressing; or Tuna Poke with jasmine rice, avocado, cucumber, edamame, mango, seaweed, sesame and ginger, as zingy as they sound. Did we mention the Grand Restaurant? Pack a proper frock, honey.

Then there’s the huge indoor pool and chill-out zone with picture window views to the forest, and the spa, and the very elegant and high-ceilinged lobby where you’ll imagine Lauren Bacall and Ella Fitzgerald playing poker together.

Getting horizontal

Our room was light, airy, refreshingly free of pine and frills, taupe carpets, wooden panels, light greys, a big marble bathroom.

hotel bedroom

Flipside

We loved being just out of St Moritz and having the ski lift and piste at the door. It is a taxi ride into town for the clubs and bars, although at this time of year, we recommend staying just where you are.

Rates: From CHF 630 per night for a standard double room with mountain views (approx. £500 /€600/ $700)

Book your stay: suvrettahouse.ch

Darius Sanai

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floral design
wedding design inside conservatory

A botanical themed wedding designed by Ali Behnam-Bakhtiar

Iranian-born designer Ali Behnam-Bakhtiar does everything from interiors and architectural design to weddings and luxury parties. Here, he shares his predictions on how the event industry will change post pandemic, and reveals the process behind some of his recent projects

man in white shirtIf we can say one thing about Covid, it is that it has pushed us to become more aware of our social life and the things we spend time on. Of course, as restrictions lift around the world, there is bound to be some mindless ‘panic partying’ for a while. After all, we were locked down for a long time, and any event feels exciting, now that we are finally free to socialise again!

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However, after this ‘everything goes’ phase, I think we will quickly be reminded of the lessons the pandemic has taught us: to cherish the personal, celebrate the details, be more mindful of our surroundings and appreciate the ‘offline’.

The Design Process

The process for designing an event is evidently different with every client. You have to dig deep to understand their true wants and needs in order to make their dreams happen. Some clients come with a highly defined idea, but I have found that throughout the process this often changes, as we grow together in bringing the concept to life.

pink floral wedding

For interiors, it is very dependent on functionality. It’s not just about thinking about what the house can do for you today, but also what you might need it to do for you in the future. I want to create spaces that people can grow in, that can sustain them. I include the client in this whole process, especially when it comes to selecting materials. I think it is important for them to become comfortable with the energy and the essence of the structure before they even move in. That is what makes it personal: it feels theirs.

Recent Projects

In my work as an event and wedding designer, I have seen a lot of copy and paste events. While lacking in originality, in some ways this impersonal party hosting was not really an issue in the past, because we always took it for granted that people would show up. This has changed. Now, people, quite rightly, want more. They want something personal. Modern design needs to take the chosen environment into account. This is where you can see the difference between a replicated design and a personalised specific design.

To me, design always needs to be locale-based. In a recent case, the client wanted to go for a full wedding-white look initially, but I knew that in the opulent church space they chose, it would not work. In extravagant locations like these you need a more specific colour palette to make it shine. So we designed a harmonious image, finding contrast in the depth of the colours to enhance the church itself. The result was something unique for them and for the location they chose.

extravagant wedding design

For a ‘divorce party’ I designed, I wanted to create something from scratch, so we used a cargo ship. This meant huge flexibility: we painted the whole thing, did our own flooring, created arches, and designed designated areas that worked for this particular event with the party centred around an ice-skating/ dance floor. We also created a lounge area, and functional spaces such as food and beverage and luxury bathrooms. To create the right ambiance, we used a lot of blossoming flowers and installed trees with led lights, guiding the guests around the ship. Then as the grande finale, highly personalised fireworks installed all around the ship, going both upwards and sideways, led to a unique vista at sea, and a once in a lifetime experience, for guests only.

For another recent wedding, because of COVID and the needs of the client, finding the perfect venue was impossible, so we designed and built our own. We still wanted that heritage feel, so with a big landscaping team, we created a space that felt like it had always been there in nature and nurture. I love designing a venue for a specific function, because it means not only that the event is completely personal, but also that it stays that way forever.

party on a boat

The Future

Since Covid, we have all become stricter with our schedules and more cautious of travelling. Events therefore won’t be less important, they will, however, have to be much more intentional. When anything and everything can be shared on social media or experienced over Zoom, being actually present needs to mean something. There has to be an added value for real life attendance. A merely visual experience, that is easily replicated on screen, will not cut it. We long for an energy that transcends the screen. Something that requires our full presence. Something ‘you had to have been there’ for. That is what sets an event or wedding apart these days. Designing events post-Covid is no longer just about throwing a seamless party, it is an expression of identity.

Find out more: alibakhtiardesigns.com

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a building overlooking a city and lake
a building overlooking a city and lake

Four Seasons Private Residences New Orleans

Four Seasons is not only world renowned for its luxurious hotels but also its private residences. Here, LUX speaks to Paul White, President of Four Seasons Private Residences about the success and growth of the brand

a man in a blue blazer, pink shirt and blue tie wearing glasses

Paul White, President Four Seasons Private Residences

1. For the high net worth individual, what makes a Four Seasons Private Residence singularly attractive over a standalone home?

The goal of our residential strategy is to extend the Four Seasons lifestyle experience, creating the very best homes in the world – in the best locations, of the highest quality, and accompanied by Four Seasons legendary service. We are a “people powered brand” so this service is a fundamental part of our residential offering.

Alongside our renowned service offering, residents can enjoy the best of both worlds with exclusive and private homes that provide hotel-inspired amenities that they have come to love when staying with Four Seasons around the world. These amenities include incredible communal areas, private amenities and spacious lobbies and social areas.

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A major benefit to homeowners is that Four Seasons acts as the property managers of every residential property in our portfolio – we do not outsource to third parties like some other brands. If owners are only spending a portion of their time in-residence, they can trust that Four Seasons is on the ground and will care for and maintain their asset while they are away. This also safeguards their investment for the future.

2. Unlike unbranded residences, Four Seasons have a premium on trust and credibility in the luxury real estate sector. How has this buttressed the growing consumer desire for security and peace of mind amid the instability of the past year?

During the pandemic and as our industry looks forward to recovery, the trust and confidence in the Four Seasons brand, paired with our legendary service, is what residents are looking for and what is most appealing to prospective buyers. Especially in a lockdown scenario, they have all they need within the Four Seasons experience they know and trust.

During the height of the pandemic, more and more of our residents stayed in place in their Four Seasons home, a testament to the comfort, confidence and peace of mind they feel in the asset and in our service. Additionally, with guidance from internationally recognized experts, Four Seasons also developed Lead With Care, our enhanced global health and safety program focused on providing care, confidence and comfort to all guests, employees and residents within the new COVID-19 environment.

The use of technology to offer contactless service has become even more important in light of COVID-19, which is why we extended the award-winning Four Seasons App and Chat platforms to create a digital experience for our residents, accessible through their phones, tablets, or computers. The residential digital experience allows residents to further customise their residential lifestyle experience, including securely managing and maintaining their home, connecting with their designated Four Seasons team members, and requesting services with ease and convenience.

apartment block in Dubai

Four Seasons Private Residences Dubai

3. Owing to the phenomenal success of Four Seasons Private Residences, the brand is expecting to double its portfolio. How do you sustain its reputation for uniqueness and curation while pursuing growth on a global scale?

Our formula is to blend high profile real estate with the concept of lifestyle, to create the ultimate in luxury living for discerning homeowners who are in the market to purchase an amenity-rich and serviced residence or vacation home. Whether you live with us or vacation with us, a Four Seasons residential experience marries the world’s finest real estate and personalised, integrated service.

Our focus with both hotels and residences has always been to offer a world-class product in the best locations. We seek developers who can help us achieve this, and whose goals for offering the highest quality of location, architectural stature, interior design and amenities are aligned with ours. Our partners are equally as committed to excellence, and choose Four Seasons to deliver exceptional personalised service to residence owners.

As a brand, our residential offering is not new, but an important and growing part of our business. We have been a leader in branded residential since 1985, when the company opened its first private residences in Boston. Today, we operate 46 Private Residences globally, designed and built to Four Seasons standards in both global urban centers and gateway cities, as well as resort destinations.

4. Four Seasons branded residences have been around since 1985. Has there been a shift in the type of clientele since then?

Branded residential offerings are well suited to meet the changing needs of today’s buyer, not only by offering spacious, beautifully designed homes, but through the trust and strength of the brand and knowing that you and your home will be cared for.

Four Seasons buyers are not only looking for luxury and prestige – but also security, peace of mind and privacy – and are prepared to pay premium prices for a brand that goes above and beyond to deliver in these areas. A Four Seasons Private Residence make the perfect investment choice for both local and internationally mobile buyers, giving clients the opportunity to buy into a home with a globally recognised, reputable brand with both cache and credibility. As a result of the pandemic, we have also seen the lines blur around first, second, third homes. With the ability to work from anywhere, residents are using their homes differently than they have before.

living room

Four Seasons Private Residences. 20 Grosvenor Square

5. The private residences’ clientele ranges from full- and part-time occupants to those looking solely for an investment property. How do you cater to these various needs while maintaining an overall sense of cohesion and community?

The Four Seasons buyer profile varies from market to market – Four Seasons trends indicate that buyers are local who know the market and brand. There are also many UHNW buyers with an affinity to the Four Seasons, an affinity for a given location, and who are pre-disposed to buying real estate for personal use and enjoyment and/or as an investment.

While we are dedicated to upholding our brand standards, we recognise that the best real estate in the world is a genuine reflection of its locale. Each Four Seasons property is reflective of the unique culture, history and aesthetic of the destination in which it sits. We work closely with our designers and developers to understand the buyer profile in each location and optimise the design and amenities accordingly to meet the unique needs of the luxury consumer in that market and connect them more deeply with the local environment.

Read more: Luxury Travel Views: Four Seasons Grand-Hôtel du Cap-Ferrat, Côte d’Azur

6. You are in the midst of growing your portfolio of standalone residences, with projects in London, Los Angeles, Marrakech and San Francisco. Tell us more about the process involved in these projects, and what differentiates them from other residences in the brand’s portfolio.

As a brand, Four Seasons is strategic and deliberate with the markets we choose to operate in. These standalone residential projects are unique in that they exist separately from hotels and resorts. They are a distinct yet complementary Four Seasons living experience, and in many global gateway markets we offer both standalone residential projects as well as residences that are connected to a hotel.

As we continue our robust residential expansion, our focus is on offering Four Seasons Private Residences in key destinations where our residents want to live, looking at the latest buying trends and understanding their residents and their needs. Our biggest differentiator is our service and this has always been driven by our people. It is our teams on the ground, led by a dedicated Director of Residences, who bring the Four Seasons experience to life, delivering the genuine, personalised service that defines our brand the world over.

Find out more: fourseasons.com

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boat in antarctica
boat in antarctica

Lindblad Expeditions travellers explore Booth Island, Antarctica

Sven-Olof Lindblad is an influential Ocean Elder whose work combines marine conservation, education and eco-tourism. He speaks to Sophie Marie Atkinson

In late January 1966, 57 travellers arrived at Smith and Melchior Islands on the Antarctic Peninsula aboard a chartered Argentine navy ship. Pioneer Lars-Eric Lindblad was the man behind this voyage, one which had previously only ever been undertaken by professional explorers and scientists. This event marked the beginning of commercial travel to parts of the world that, until then, most could have only dreamt of visiting, as well as the birth of a whole new industry.

Exploration, discovery and an innate desire to immerse oneself in nature clearly run in the Lindblad blood. Lars-Eric’s son, Sven-Olof, spent part of his life in east Africa, where he photographed elephants and wildlife and assisted filmmakers on a documentary about the destruction of rainforests. This experience, coupled with the many trips he joined his father on, ignited a passion that lives with him today.

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By 1979, Sven-Olof had founded Special Expeditions (now Lindblad Expeditions), an innovative travel company that today offers oceanic expeditions aboard small ships. Like his late father (who died in 1994), Sven-Olof’s mission is to enable people to explore hidden corners of the world. Destinations include the coast of Alaska, Baja California, Patagonia, Russia, and even the islands around Scotland. But visiting these regions is only a fraction of the company’s story.

Lindblad Expeditions seeks to take what we currently call ‘sustainable travel’ a step further. “Sustainable travel basically means that you can just continue what you’re doing without causing a negative impact, so essentially ‘do no harm’,” Sven-Olof explains. “I think what we need to do is figure out how to use our energy and our imagination to think more in restorative rather than just sustainable terms. We’ve done so much damage to our environment that we need to shift gears fast.”

man standing on the sea shore

Sven-Olof Lindblad on Ellesmere Island in the Canadian Arctic, 2014

This is why planetary stewardship and meaningful change are at the heart of the Lindblad Expeditions offerings. They are facilitated in a number of ways. Firstly, the company is carbon-neutral, offsetting all its operations and making it easy for travellers to do the same with their flights. The ships are entirely free of single-use plastic, and all food provided on board is responsibly sourced.

The company has formed a partnership establishing the Lindblad Expeditions-National Geographic Fund, with donations often coming from inspired passengers, with each of the 15 ships raising finance for different programmes. “We have a hugely successful project called Pristine Seas,” explains Sven-Olof, “the objective of which is to create large marine protected areas. We raise a minimum of $500,000 a year for that programme, often up to $800,000.

Read more: How Science is Harnessing the Power of the Sea

“In the Galápagos, we put hundreds of thousands of dollars into a local school that we believe will educate the future leaders of the islands.” They also help local fisheries implement better technology for their work.

Motivating people to care is another piece of the Lindblad puzzle. “One of the things I love about having this fund is its action, which we often see in the most surprising ways,” he says. “One individual had travelled with us at first to Alaska then to Baja California and then to the Galápagos. He called me one day and said, ‘I’m a trustee of The Helmsley Trust and I’m fascinated with what you do.’ Over a number of years, he became the trust’s most significant conservation investor. He was pumping $9 million a year into the Galápagos and about $6 million into Baja. He had never thought about this field before and these trips just opened his eyes.”

Sven-Olof doesn’t see any of his efforts as philanthropic. “I’ve made a point, in relation to our industry, never to use the word ‘philanthropy’,” he says. “If we gave $100,000 to the children’s hospital in New York, I would view that as philanthropy, but when it comes to anything related to travel, I view it as investment. At the end of the day, natural resources, cultural resources, historic resources – these are what the travel industry depends upon. So why wouldn’t we naturally want to invest in the maintenance of these, our core assets?”

On top of these myriad achievements and endeavours, Sven-Olof is one of 23 global leaders – including Jean-Michel Cousteau (son of Jacques) and James Cameron – who use their power and influence to protect our marine worlds. These are Ocean Elders. Sven-Olof explains that their primary purpose is to try to sway political decisions, or lobby governments or certain businesses. “There are a lot of scientific resources behind Ocean Elders owing to the fact that members include the likes of Richard Branson, which means we can produce weapons that we can put on desks of prime ministers, weapons signed by all of these people.”

It would appear that Sven-Olof Lindblad, with a fleet of 15 ships and the backing of some heavyweight peers, is more than armed and ready for the war against the destruction of our precious oceans. His role at the helm of eco-travel looks set to continue.

Find out more: world.expeditions.com

This article was originally published in the Autumn/Winter Issue.

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turtles ocean

turtles ocean

The health of the world’s oceans is under threat. But the seas can be part of a visionary plan to address climate change and create a more sustainable economy. Andrew Saunders reports on the new science around ocean carbon capture

Photography by Matt Sharp

The power of plants to absorb excess carbon dioxide from the atmosphere as they grow is well understood as a vital tool in the global battle against climate change. But which of the planet’s myriad natural environments does it best? Tropical rainforest? African Savannah? Scottish peat bogs? None of the above – in fact the most carbon-rich ecosystem in the world is not to be found on land at all but in the ocean. Mangrove swamps, such as those found dotted around the coastlines of Indonesia, Brazil and Nigeria for example, are the unsung heroes of carbon storage, locking up no less than ten times as much carbon per kilometre square in their branches, roots and soils than even the densest forest.

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Together with other coastal ecosystems, including sea-grass meadows, tidal marshlands and coral reefs, these so-called ‘blue carbon’ resources highlight that the oceans play a much more prominent role in limiting global warming than has been generally recognised.

“Building the ocean’s resilience to change and helping to rebuild marine-species abundance and diversity are not as fully appreciated as they should be as crucial tools in combating climate change, but there is more and more evidence that blue carbon plays a critical role in maintaining the health of our biosphere,” says Karen Sack, chief executive of Ocean Unite, an international network of experts in the science and ecology of the oceans.

Covering some 70 per cent of the planet’s surface, the oceans are effectively a huge carbon sink which has already absorbed around a third of the excess carbon that has been put into the atmosphere since the dawn of the industrial era. And more than 50 per cent of the carbon in the ocean is blue carbon, despite the fact that such environments account for only two per cent of the total ocean area. Protecting and enhancing them is at least as important as preserving forests, planting trees and rewilding on land, says Sack. “Mangroves, sea-grass beds, fish and marine mammals play a huge role in sequestering and storing carbon. By protecting and restoring these crucial habitats and species, more carbon will be sequestered and stored, resulting in a healthier planet, which is better for us all.”

seaweed

Rock pools in Jersey

The carbon capture and storage potential of healthy oceans is not limited to coastal blue carbon zones alone, however. Other proposals for boosting the potential carbon sequestering of the world’s seas include encouraging kelp forests – essentially huge seaweed farms – and even microscopic algae called phytoplankton to extract carbon from the atmosphere as they grow.

Such initiatives could not only help climate change but also present new and potentially lucrative opportunities for business and investors, says Professor Ove Hoegh-Guldberg of the University of Queensland and a member of the High Level Panel for a Sustainable Ocean Economy. The panel’s landmark 2020 report, Ocean Solutions That Benefit People, Nature and the Economy, found that a truly sustainable ocean economy could contribute around a fifth of the total carbon reduction required to meet the 2015 Paris Agreement target of a maximum two degrees of climate warming.

Read more: LUX Editor-in-Chief Darius Sanai on Effective Climate Action

For example, some phytoplankton species can be a source of valuable low or even zero-carbon biofuels and other industrial products. “Some of my colleagues here in Queensland are working on this. Phytoplankton grow very quickly and they can be processed to produce biofuels and high-value boutique chemicals. It’s potentially very interesting but it still has to be proved at an industrial scale.”

The ocean economy could also help feed the world more sustainably – a study by the Institute for Marine and Antarctic Studies found that each kilo of fish landed in the US requires the emission of just 1.6kg of carbon dioxide, compared with between 50kg and 750kg for a kilo of beef produced on land. And if it can be done sustainably, large-scale ocean aquaculture has the potential added benefit of helping to protect and restore many wild-fish stocks threatened by over-fishing. “Well over half the world’s fisheries are in trouble,” says Hoegh-Guldberg, “because they have been fished down to well below sustainable levels.”

Rethinking the way we catch fish, so that sustainable aquaculture in the oceans becomes more equivalent to sustainable agriculture on land, could help stressed wild fisheries recover, he adds. “We are sophisticated farmers on land but we still have a basically Neolithic culture when it comes to fisheries.”

Creating such a climate-positive ocean economy will require a shift in the mindset of business in general and finance in particular to the point where the environmental impact of commercial activity is given equal weight to considerations of profit and loss, says Ocean Unite’s Sack. “Instead of viewing nature as an unaccounted externality that is not valued, the finance and business community more broadly needs to recognise its value, including the intrinsic value of biodiversity, and account for it. It can then take tried and tested financial products and put them to work with nature to build resilience and deliver bankable returns.”

beach pollution

Matt Sharp visited the Maldives in 2019 (above) where he recorded the extent of the pollution on the beaches

Stressing the urgency, she continues, “We’re at an ‘all hands on deck’ moment. By bringing together our collective knowledge and strengths, we can tackle hazards and vulnerabilities, build resilience and adapt to change at speed and at scale. But we have to have public and private sector financing to do that and partner across sectors to spur the type of innovative marketplace that is needed.”

So, nature and profit can co-exist in a sustainable and carbon-sequestering ocean economy. But what about technological solutions? As far back as the 1970s, Italian physicist Cesare Marchetti was the first to suggest injecting CO₂ directly into the Mediterranean to ameliorate global warming, and since then the oceans have been seen as part of a more tech-led – and more controversial – approach. Subsequent refinements of Marchetti’s original idea include pumping CO₂ captured from industrial plants into the sediment layer on the deep ocean floor. The pressure at such depth would liquefy the carbon dioxide, helping – in theory anyway – to keep it safely locked up, miles down in the mud.

Read more: Markus Müller on the Importance of Global Sustainability Standards

Even set against the current scale of the climate crisis, this looks like last-ditch stuff, says Professor Stuart Haszeldine of the School of GeoSciences at Edinburgh University. “I would much prefer that we didn’t have to: it would be a last-resort type of measure, if we haven’t managed to re-capture our emissions in any other way.”

But all the same, less risky technological solutions may well have a place – and the ocean can be part of that, too. Haszeldine and his colleagues at Edinburgh have come up with an alternative plan that could see the ocean surface turned into a kind of giant mirror to reduce the heating effect of the sun. Autonomous, computer-controlled ships would suck up sea water and spray it into the air as fine droplets, forming a layer of mist to reflect sunlight and cool the waters beneath. “We should have started reducing our carbon dioxide emissions 30 years ago,” he says. “This would be a way of cooling the ocean quickly, to reduce the effects of hurricanes [also caused by rising sea temperatures] and of helping to refreeze the melting arctic ice.” The group is currently looking for funding for a trial project to turn its innovative idea into reality. “We could build a pilot boat for a few million, and if it works then building 300 of those to delay the climate problem is well within the capacity of the global shipbuilding industry.”

rays underwater

Spotted eagle rays in the seas around the islands in the Maldives

The ocean surface could also be a platform for renewable power generation, thanks to the developing technology of floating wind and solar farms, says Hoegh-Guldberg. “Our report concludes that there is enormous potential there, and it is both technologically feasible and acceptable to the public.”

So while the climate clock is ticking ever more loudly, there are grounds to be cautiously optimistic that an alliance between science, government and business will yet provide the framework, the finance and the innovative ideas required to keep global warming within just about tolerable limits, and that oceanic carbon capture and storage will play its full part in the process. In Hoegh-Guldberg’s view, “Government needs to set the rules to encourage science to define the problems and the solutions, but then it should be sitting back as business gets involved.”

Hoegh-Guldberg also warns that if we continue as we are, we will end up with a world that is three to four degrees warmer than the pre-industrial era. “So, it doesn’t look too good as it stands now. But humans are very resourceful and there are lots of opportunities. I think we will keep to under two degrees, though not by a lot. Transitions tend to happen very slowly at first; you have to push and push until you get to the inflection point. Then suddenly you’re rolling downhill on the other side.”

Matt Sharp was awarded the Ocean Conservation Photographer of the Year in 2020. He studied marine biology and has travelled and worked around the world, documenting marine life.

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

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Reading time: 8 min
shiny balloon dog sculpture
shiny balloon dog sculpture
Although Jeff Koons has had a profound impact on contemporary art and remains one of the world’s most influential artists, recent data supports a strong decline in his market, reflecting the tastes of a new generation of art collections and wider cultural shifts. Sophie Neuendorf reports

“I love the gallery, the arena of representation. It’s a commercial world, and morality is based generally around economics, and that’s taking place in the art gallery,” Jeff Koons

The above quote perfectly sums up the ethos and reputation of Jeff Koons. Love him or hate him, Koons has shaped contemporary art in profound ways over the course of the past few decades. One of the reasons for this is that his work is globally recognisable and relatable – you don’t need to have studied art history to understand where he’s coming from although if you have there are deeper layers to be found. In a sense, he bridges the gap between high and low culture.

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Koons rose to fame in the 1980s, developing iconic works such as Michael Jackson and Bubbles (1988), the Made in Heaven (1990–1991) series, and Puppy (1992), which has been installed in Sydney Harbour, Bilbao, the Palace of Versailles, and Paris. While he’s most closely associated with his brightly coloured, shiny, oversized sculptures of kitschy souvenirs, toys, and ornaments (see his Celebration (1994–2011) series), Koons continues to seek new and surprising outlets for his creativity. In 2017, he teamed up with the luxury brand Louis Vuitton to produce an edition of bags printed with iconic European paintings, and more recently, he teamed up with high-street brand UNIQLO to create a line T-shirts and hoodies printed with some of most famous sculptures.

art auction graph

Courtesy of artnet

In 2019, his fame seemed to reach an all time high: Rabbit sold for a record-breaking $91.1 million at Christie’s auction house, making him the most expensive living artist. However, according to the artnet Price database, that single work accounted for the lion’s share of the artist’s $100 million (approx.) auction total that year. In fact, since peaking at more than $150 million in 2014, the artist’s  overall auction volume has been slowly trending downward. In 2020, it was down to less than $3 million. While the pandemic undoubtedly played a role in the decrease of sales and things have picked up slightly since (to about $36 million to date) it’s still a far reach from earlier years. More worryingly, 48 (20%) of the 239 Koons lots offered this year at auction have failed to sell entirely.

Read our interview with Jeff Koons from the Autumn/Winter issue

Over the past few years, major cultural shifts in the art world and beyond have contributed to the rather rapid depreciation of the Koons market. First and foremost, there has been a generational shift, with a new group of young collectors becoming the driving force behind the rise of Ultra Contemporary artists and a wider change in tastes. Peers of the BLM, MeToo, and climate change era, these young collectors are looking for more depth and meaning than Koons’ shiny kitsch seems able to offer. Quite possibly, the extravagant prices and controversial subject-matter (namely Koons’ Made in Heaven series which featured explicit images of his former wife, porn star Ilona Staller) have, ultimately, overshadowed his career, but this change can also be seen as a natural evolution. In fact, the only category in art that is more or less immune to changes in taste are the ultimate “trophies” that are so exceptional and rare in quality that anyone able or prepared to spend more than $100 million on a single artwork cannot afford not to go after them, if and when such works become available. Nearly everything else is and always will be affected by the evolution of culture.

art market graph

Courtesy of artnet

Additionally, and importantly, the health crisis of the past two years has had a profound impact on not only the art market, but also on the popularity of the hyped pre-pandemic artists. Internationally recognisable artists such as Richard Prince and Takashi Murakami have also seen a depreciation in their average prices at auction, indicating a decline in their popularity. Perhaps, this is because these figures are seen to be representative of a pre-pandemic era, an era which was more superficial and frothy than today’s.

Read more: The Best Art Exhibitions to See in January

Koons currently ranks as number 57 in artnet’s list of the top 300 most popular artists, but if the market is anything to go by, he’s in danger of slipping off it altogether. “For me, at a certain point it became so much about the money that I couldn’t look at a shiny outdoor [Koons] sculpture without thinking about dollar signs,” commented American art advisor and specialist in modern and contemporary art Lisa Schiff. “When it becomes too much about the money, it’s just not interesting. I feel like where he started is somewhere very different from where he went.”

Now, Koons’ new dealers at Pace Gallery (the gallery announced exclusive representation of the artist in April after he left Gagosian and David Zwirner) are faced with the daunting task of rekindling his market. His latest works –  stainless steel replicas of porcelain figurines – are set to appear in a solo show at Pace New York in late 2023 but only time will tell if the market can be swayed once more in his favour.

Sophie Neuendorf is Vice-President at artnet. Find out more: artnet.com

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A computer on a purple table with Chinese art on it and Chinese ornaments on the table
A computer on a purple table with Chinese art on it and Chinese ornaments on the table

Painting by Christopher Cheung. Displayed at Spectrosynthesis II, Bangkok Art and Culture Centre

Patrick Sun is pushing forward a movement very close to his heart through his foundation Sunpride, which seeks to give equal opportunities to LGBTQ+ artists in Asia. Here, Sun speaks to Samantha Welsh about what his foundation has done for him personally and the wider impacts of his projects
Patrick Sun holding an open book standing in front of a painting

Patrick Sun, Founder of Sunpride

LUX: You grew up in Hong Kong, in a traditional family, when sex discrimination laws were undergoing limited amendment (HK 1991). When did you realise that the problem was with society?
Patrick Sun: Coming out is never easy and it was especially daunting in the 80’s when society was hostile and gays were seen as perverts.  My mother insisted that I seek help from a psychiatrist, and I obliged, not because I thought there was anything wrong with me medically or psychologically, but I needed the doctor to tell her that I am “normal”.  Soon after that I participated in a panel discussion with legislators who sought to decriminalise homosexuality in Hong Kong and that was when I realised that rather than resigning ourselves to adversity, we can try to do something to change society.

LUX: Suggesting the hidden, the forbidden, taboo; did your curiosity inform your early collecting?
Patrick Sun: My earliest collection was traditional Chinese paintings.  While I had no intention to collect such works with a gay theme, one of my favourite paintings depicted two boys sharing a stolen watermelon which evoked to me a forbidden love. I can draw parallels to LGBTQ artists who do not specifically depict a gay theme in their work, yet somehow who you are and what you can reveal can be found if we look in the right place.

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LUX: Inequality, invisibility, social exclusion and marginalisation; many artists’ works show a longing to belong, through juxtaposing what is with what is not there. Which of your works exhibited have had the most impact?
Patrick Sun: One of my favourite works from our exhibition in Bangkok was Arin Runjang’s “Welcome To My World: Tee”, which takes us into a large dark room with 5 giant screens showing different views of a naked transgender person. The work questions one’s perception of what makes a “perfect woman”, as well as one’s reaction when confronted with something unfamiliar or “abnormal”.  It addresses all the issues you mentioned such as invisibility, social exclusion, marginalisation and inequality in one powerful installation.

three screens with coloured lights in a dark room showing a man lying down wearing a vest

Installation by Jun-Jieh Wang. Displayed at Spectrosynthesis, MOCA Taipei

LUX: Through Sunpride, you are renowned for your ground-breaking super-scaled public exhibitions, the biggest in Asia.  What is your thinking here?
Patrick Sun: Sunpride Foundation hosts large-scale exhibitions with an LGBTQ theme to promote awareness and respect of our community in Asia.  We anchor our events at public institutions because they provide a platform to reach out to the general public.  Like movies and novels, we see art as a more equanimous way of communication and strive to promote people’s understanding and acceptance of a more diverse society.

LUX: What is the symbolism behind Spectrosynthesis, and what was the ambition for the Taipei, Bangkok  and the recent Hong Kong exhibitions?
Patrick Sun: Spectrosynthesis is composed from two words – spectrum which represents diversity as in colours of the rainbow, and photosynthesis which is how plants convert solar energy into nourishment.  We believe if one source of energy can bring life to all living creatures, then diversity could lead to a better and healthier society.
Taipei and Bangkok were our first two exhibitions and we are happy to see that they were both well received by the art circle and general public.  We hope to bring similar exhibitions to other parts of Asia where the voice of the LGBTQ community need to be heard.

When Sunpride presented our first exhibition there was some skepticism about the possibility of bringing Spectrosynthesis back to my home town, Hong Kong. I am particularly proud to see the materialisation of a major exhibition at Tai Kwun in 2023.

red string dripping from the wall and a man in a painting behind it in an art gallery

Installation by HOU, Chun-Ming. Displayed at Spectrosynthesis, MOCA Taipei

LUX: Why not shine a light on the SE Asian countries which criminalise LGBTQ+ people, such as Myanmar, Bangladesh, Malaysia? Surely in Taiwan and Thailand there have been achievements in equality and diversity?
Patrick Sun: One of the criticisms we received from our shows in Taipei and Bangkok is “are we preaching to the converted?”  My answer is, while both places have better achievements in equality and diversity, there are still discrimination and inequities that need to be addressed.  Our show in Taipei happened at the time when same-sex marriage created huge controversy, and the one in Bangkok was presented when a new bill on civil partnership was discussed at the Justice Ministry.  While it may seem impossible now to host such a show in countries like the ones you mentioned, I am optimistic that the world is changing in the right direction with regard to equality and diversity.  A good example is India – removal of penal code 377 and decriminalisation of homosexual acts was only accomplished in 2018 and the scene has flourished in leaps and bounds.

Tapestries of animals and humans wearing masks

Installation by Sornchai Phongsa. Displayed at Spectrosynthesis II, Bangkok Art and Culture Centre

LUX: How significant are the partnerships with MOCA, BACC and recent Tai Kwun?
Patrick Sun: Our partnerships with MOCA Taipei and BACC were paramount in importance.  They helped pave the way for our future exhibitions, not just in showing what an LGBTQ-themed exhibition is, but also allaying fears of what we are not.  It is not a show built on homo-erotica, nor is it confrontational or offensive.  It has a wide array of themes and mediums, and provides platforms for communication between the gay community and the general public.

The recent collaboration with Tai Kwun is equally if not more significant. I believe the exhibition is important not only to the LGBTQ+ community but to everyone in showing how Hong Kong remains a diverse and inclusive society.

Read more: Umberta Beretta on fund-raising for the arts

LUX: Does your activism drive you to work with institutions beyond SE Asia?
Patrick Sun: We have been approached by institutions in Europe and America to bring our show there.  We declined because our focus remains in Asia, where exhibition like ours is more direly needed.  However, we have made friends with many art professionals including curators from art institutions in other parts of the world who have formed an invaluable network of information with Sunpride Foundation.

a man wearing black shorts lying on the grass

Photo by Ren Hang. Displayed at Spectrosynthesis II, Bangkok Art and Culture Centre

LUX: How has the public-private partnership guided your process in how to buy and what to show?
Patrick Sun: Sunpride Foundation collects with an aim to exhibit.  Whilst ultimately it is the curators’ decision on what to present, having a large sample in our collection helps them build the exhibition, with additional works to borrow or commission to help put together a coherent show.  When we look at a work, the first question is always “how would it work in an LGBTQ-themed exhibition?” This question helps us set aside personal preferences and think about logistic issues such as medium, transportation, storage etc.

LUX: If a member of the public asks you how they can support LGBTQ+ rights, how do you answer them?
Patrick Sun: Speak Up: if you hear something offensive about gay people, tell them it is not ok. Words can hurt and when you speak up, you let people know those words are not acceptable and prevents similar slandering or mockery in future. Another way would be – allow me to do a bit of promotion here – come see one of our exhibitions, or read up on them, to see for yourself that the LGBTQ community is perhaps just as normal and talented as the rest.

Find out more: sunpride.hk

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mixed media artwork
mixed media artwork

Rachel Jones, SMIIILLLLEEEE, 2021. Oil pastel, oil stick on canvas. Photo by Eva Herzog. Courtesy Thaddaeus Ropac gallery

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

Sophie Neuendorf, Vice President of artnet

Last year, Saint Laurent started their cultural program, showing a selection of artists at exciting locations, such as at the beach during Art Basel Miami Beach (which you can read more about in my diary from the fair). They also mount exhibitions at their Rive Droite location in Paris, which has been conceived to showcase a selection of products from the Saint Laurent collection alongside works by emerging and established artists. This month, they’re showing Sho Shibuya‘s ethereal solar paintings, following the artist’s debut in Miami.

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Another must-see show is The Magritte machine at Thyssen Museum Madrid (closing on 30 January). As Sotheby’s is betting big on Magritte with a $60 Million consignment for their forthcoming London auction, this exhibition offers visitors the opportunity to discover more about the surrealist Belgian artist.

René Magritte Tentative de l’impossible 1928. Toyota Municipal Museum of Art, Toyota © René Magritte, VEGAP, Madrid, 2021

Then, at the end of this month, Buckingham Palace will reveal seven portraits of Holocaust survivors, which were commissioned by Prince Charles as a gesture of tribute to the ageing generation. The artists participating in the project include the most expensive living female artist Jenny Saville, BP Portrait award-winner Clara Drummond, original member of the Young British Artists Stuart Pearson Wright, and painters Paul Benney, Peter Kuhfeld, Massimiliano Pironti, and Ishbel Myerscough. The paintings will be displayed in the Queen’s Gallery starting January 27 in an exhibition called Seven Portraits: Surviving the Holocaust.

Idris Khan, Artist

Perhaps rather predictably, my recommended exhibition for this month is my wife, Annie Morris’s show When a Happy Thing Falls at the Yorkshire Sculpture Park. It’s her first UK solo museum exhibition and includes her sculptures as well as drawings and a tapestry. The show ends on 6 February so it’s your last chance to see it!

Read more: In the studio with Idris Khan

outdoor sculpture

Annie Morris, Stack 9 Ultramarine Blue, 2021. Photo © Jonty Wilde. Courtesy Yorkshire Sculpture Park

Lawrence Van Hagen, Founder of LVH Art Advisory & Curator of the ‘What’s Up’ exhibitions

Rachel Jones’ solo exhibition SMIIILLLLEEEE at Thaddaeus Ropac, London (on until 5 February) has deservedly received a lot of media attention. The 30-year-old Essex-based artist is already a distinctive voice in the art world (she was one of the youngest artists to participate in the Hayward Gallery’s acclaimed exhibition Mixing It Up) and one of the most exciting emerging artists that I have personally come across, and acquired in recent years.

artist portrait

Rachel Jones in her studio. Photo by Adama Jalloh

As the title suggests, the exhibition references the artist’s ongoing obsession with mouths and specifically, teeth. In the works, she combines figuration and abstraction to reflect on teeth as a form of cultural expression in Black communities. The mouth also seems to be a metaphor for the world within us, our emotional landscape and the gate to our soul as we smile, eat, sing, scream, kiss… The clearest example in this show is a work that’s only 30cm high but more than 2-metres wide. It pictures a set of teeth and the canvas is trimmed at the bottom to follow the uneven shape of the molars and incisors. Rachel also has a solo show coming up at Chisenhale Gallery (opening 12 March) – another date for the diary!

Read more: Shiny Surfaces, Lawsuits & Pink Inflatable Rabbits: Jeff Koons

Millie Walton, LUX’s Art & Digital Editor

A few years ago, I was lucky enough to meet Dutch artist Jacqueline de Jong in the context of her solo exhibition at Pippy Houldsworth Gallery in Mayfair. We chatted at length about her process (which is completely spontaneous in the sense that she never plans her compositions) and her participation in the anti-authoritarian Situationist International (SI) group. Although the group wasn’t an artistic movement, de Jong was greatly inspired by its revolutionary spirit which can be felt in her vibrant colour palette and fluid forms that seem to writhe on the canvas. She has been making work for over six decades, but it isn’t until now that she’s beginning to finally garner international recognition.

abstract drawing

Jacqueline de Jong, Untitled (Upstairs-Downstairs), 1986

This month, she has two major solo exhibitions including a museum survey entitled The Ultimate Kiss, which was inaugurated by WIELS, Brussels, in 2021 and is currently on show at MOSTYN, Wales (until 6 February) as well as another solo exhibition at Pippy Houldsworth Gallery (21 January to 12 March 2022) which includes a series of drawings related to her Upstairs-Downstairs paintings from the mid 1980s. I’m hoping I’ll get to see both!

mixed media painting

Januario Jano, Untitled (M0010), 2021.

I also recommend stopping by Kristin Hjellegjerde Gallery’s Wandsworth space to see Angolan artist Januario Jano’s vibrant, thoughtful show Imbambas: Unsettled Feelings of Object & Self (on until 5 February). Jano takes the Kimbundu term imbambas (which refers to things such as furniture and luggage that have an intrinsic and uncanny relationship to the body and self) as his departing point through which to explore the role of the object in the construction and reinforcement of cultural identity. The exhibition features a wide range of mixed-media works, incorporating textiles, photography and found objects.

 

 

 

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Iran Issa Khan wearing an orange scarf and orange earrings
Iran Issa Khan wearing an orange scarf and orange earrings

Iran Issa-Khan

Born in Tehran, Iran Issa-Khan moved to New York in the 1970’s, and became one of the world’s most celebrated fashion photographers and a favourite of celebrities and political figures during the following two decades. Here, Iran speaks to her friend and LUX’s Chief Contributing Editor, Maryam Eisler, about widening her focus from the beauty of the human form to exploring the majestic scale of the natural world. The artist now resides in Miami where she has been working on her Nature series for the past twenty years.

Maryam Eisler: What occupies your mind these days, Iran, creatively speaking?
Iran Issa-Khan: Well, I am working on my book which is going to be about fifty years of fashion and personalities. I am trying to get that off the ground by next year.

Maryam Eisler: You have had a fascinating career. On the one hand, people, in particular celebrities, have played a big role in your oeuvre, and on the other hand, you have had this incredibly beautiful dance with nature and its zen moments.
Iran Issa-Khan: Yes. In a way, if you look at my magazine covers and the people I have shot, nature’s beauty is always present, and I enjoy celebrating it with my lens. To me that is very important and you know, being from the Middle East, I am used to being surrounded by beauty so, this is what has carried me throughout life, in this country included [The United States].

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I stopped shooting fashion, in the nineties when my make-up artist died of old age, and I moved to Miami. I left New York, and an artist friend of mine, asked me to shoot some black and whites of nature. I had never done that before, but suddenly I started looking at it with a new perspective, as if earth was opening up to me in such a new and beautiful way. I thought to myself, I have to capture it, because no human being can be that perfect. I just used my eye, my sense of aesthetics and all the lessons that I had learned while shooting fashion and people and put it all towards something that nobody had necessarily paid much attention to: a plant, a flower, even a small shell. Some of my shells are minuscule, but I blow them up to five by ten feet. So, for me, nature takes on a whole new meaning in terms of its grand beauty but also in terms of its emotive connection to me, personally. There is purity. Everything is so clean, so ordered, so pleasing to one’s eye and to one’s soul.

Harper's Bazaar Covers

Harper’s Bazaar Covers by Iran Issa Khan

Maryam Eisler: Stepping back in time, what led you to photography in the first instance? When did your journey start?
Iran Issa -Khan: We are talking about the late seventies when we left Iran with the Shah. I hadn’t worked a day in my life and somehow a friend of mine who worked at The New York Times said “Why don’t you become a photographer?” I said, “What do I know about photography?” She said, “Well you love the arts, why don’t we get you a teacher?” So, I hired William Minor Jr, a very well-known photographer and I worked with him for a whole year and all of a sudden, I learned how to process print, and everything else about photography. I realised this was going to be the love of my life because I could capture meaningful moments and shoot them. I built it up and then I went to Harper’s Bazaar and I said “I want to do some covers for you. I am a refugee and I am stuck here and have to work” They said “Yes, but you know a lot of personalities all over the world, so why don’t you do a year of personalities and if you’re good at that, we’ll let you do covers.” And so I did personalities… Carolina Herrera, Nancy Reagan, Diane von Furstenberg, Bill Blass, Rufino Tamayo, the Ferragamo family …all the people that I knew. Somehow, because of my upbringing and the way we had travelled all of our lives, I felt comfortable walking into these homes and telling people what to do. After a year, they said “Okay, you are good enough to do covers.”

My first cover was of Paloma Picasso and she loved it. She loved the pictures so much so that she hired me to do all her ad campaigns for twenty five to thirty years. So, we did that and then in between I got all the top models. Somehow, I got there by sheer belief in myself.

Oscar de la Renta standing in a red room by a mirror

Oscar de la Renta photographed by Iran Issa Khan. Courtesy of Iran Issa-Khan

Maryam Eisler: What is your most important life lesson?
Iran Issa -Khan: It is very difficult for me to explain the life we led back home in Iran. The connections we made both at home and through our travels… It was a different world; you were educated twenty-four hours a day and what I learned most importantly from my mother was to be good to those who work for you, because they can’t talk back at you. It raises your bar and makes you a stronger person. So that is what I did all my life and during my career as a photographer too. Additionally, my whole life has been about connecting people together. With that, I too became stronger, with a voice to be heard.

Shell

Courtesy of Iran Issa-Khan

Maryam Eisler: Tell me about one of your most memorable and most cherished, social moments.
Iran Issa-Khan: I think meeting Zaha Hadid was one of the best moments of my life. First of all, she came from Iraq and I come from Iran so we connected right away on those terms. It was instant love between us but she had to be tougher than me. She not only wrote a forward in my book but she pushed me in my career and bought my work. She had it in her bedroom in London, and said to me “You and I have a lot in common because we both come from countries that have constant beauty everywhere …in nature, in architecture, in people, in everything!’. So, we had this connection which was deep and strong. I think she did a lot for me and my work. She made me see things in a way that I hadn’t seen before. I would come and sit and we would talk for hours, sharing stories. In Miami, we spent a lot of time together, having fun and laughing, so she relaxed and became herself. I would say that she is one of the few people that has really touched me in a very deep and meaningful way, teaching me all along to be better every day and believe in myself.

an art gallery

Iran Issa-Khan’s ‘Forces of Nature’ exhibition curated by Natalie Clifford and Space Gallery St Barth currently on display at the Musee de Wall House in St Barth

Maryam Eisler: If you were to give any advice to a young, female photographer, who is just starting in her career, what would you tell her? And I am emphasising ‘her’.
Iran Issa-Khan: Good, because I really believe in helping women get ahead because women have always played second fiddle and it is not fair because they also have to be mothers, wives, best friends. They have empathy, they have love, they have care. But they can also take a picture and make it beautiful. With their art, they can make you cry, they can also make you laugh, that is their power. To bring children into the world and raise them is a lot of work, so they can do anything they set their minds to. I want them to stick to their passion, their career, believe in themselves, go for it and don’t let anything or anyone take you down, and I mean nothing and noone. Be proud to be a creative woman. Own it.

Read more:David Taggart on photographing our cover star Jeff Koons

Maryam Eisler: What makes a good photograph?
Iran Issa-Khan: Something you would never forget. You see it once and that’s it. It is with you always.

a white curly shell

Purity by Iran Issa-Khan. Courtesy of Iran Issa-Khan

Maryam Eisler: I love the fact that you don’t stay shy of embracing the vocabulary of ‘Beauty’. Some would say it’s a taboo word in the art world today!
Iran Issa-Khan: For me, that is the only thing I live by, Beauty. Don’t forget I am going to be eighty years old in February, so I have lived a long, long, life. I live in an apartment in Miami Beach where I have water on both sides, I have boats and I look at the sky early in the morning and the sparkling lights at night. For me, it is all about beauty. Even when it rains, even when we have hurricanes, it is all beauty. It is a very special kind of beauty that only God and nature can give us – and that, rules my life and my work.

Iran Issa-KhanMaryam Eisler: How wonderful that you have so seamlessly managed to connect your work around nature with a place of great natural beauty, St Barts, where you currently have a show of your photographs ‘Forces of Nature’ at the Musee de Wall House.
Iran Issa-Khan: Not only that but I used to go and spend my birthdays in St Barts every year, with twenty, thirty friends, many years ago and I never realised then how fabulous it was. The museum opens its doors and all the yachts are right there…with people walking all around; It is such a perfect place to show my art.

Iran Issa-Khan’s ‘Forces of Nature’ exhibition curated by Natalie Clifford and Space Gallery St Barth is currently on display at the Musee de Wall House in St Barth until 10th February 2022.

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Reading time: 8 min