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

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.

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.

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!

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.

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 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 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.

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.

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.

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.

Maryam 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.

Cary Fowler outside the Svalbard Global Seed Vault. Hemis/Alamy

Cary Fowler is the American visionary who established the Svalbard Global Seed Vault to ensure the security of all our crop seeds come war, famine or plague. Such future-proofing is ever more important, he tells Andrew Saunders

Appearances can be deceptive. The modest steel and concrete protrusion jutting out from the side of a mountain on the remote Norwegian Svalbard archipelago may not look like much, but it’s actually the entrance to one of the most valuable facilities on earth. Within the vaults behind it, tunnelled 120m into the rock and isolated by layers of both physical and biosecure protection to prevent contamination from the outside world, lies neither gold, gems nor fine art but something much more precious – a collection of seeds of the world’s food crops that we all rely on for our daily nourishment.

It’s the Svalbard Global Seed Vault, and it was built to help protect the world from the growing threat of biodiversity loss, particularly arising from climate change. Loss of biodiversity may not be as well-known as other risks associated with global warming such as higher temperatures and rising sea levels, but it is at least as important, says Cary Fowler, biodiversity specialist and a member of the team that co-founded the vault in 2008. Because, he asks, where would we be without food to eat?

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“We are in the midst of the greatest and quickest change in climate in the history of agriculture, and our future food security is totally dependent on biodiversity. How likely is it that all the varieties of all the food crops we rely on will be able to adapt and continue to grow in conditions that they as species have never experienced before? We need to preserve diversity so that we can help our crops adapt to these new conditions.”

But how exactly does keeping a collection that so far comprises 1.1 million seed samples (with each sample containing an average of 500 seeds) from more than 230 countries literally on ice at 78 degrees north help manage climate change? As Fowler explains, different varieties of rice, wheat, millet and so forth have specific traits that suit them for specific environments. Short-stemmed cereals are less susceptible to damage from wind and rain, for example, while others may be more tolerant of heat or drought. Samples of plants with those types of traits are a crucial hedge against the uncertainty of the future. The research done by bodies such as the International Maize and Wheat Improvement Center in Mexico is critical in our understanding of which varieties are resilient to changing environments.

The entrance to the seed vault.

“Climate change will advantage some crops and disadvantage others,” he says. “If I had a time machine and could go forward 100 years, I am confident that some of the important crops we grow now will have become much less important, and others will have come to the fore. The seed vault collection makes that kind of adaptation possible.”

So, Svalbard is really a kind of global insurance policy, a backup resource to help maintain food production and preserve lives, societies and economies in the event of any natural or human-made disaster, including, but not limited to, climate change. Many of the varieties it contains are no longer grown because they have been replaced by new varieties that are more productive or easier to cultivate, but preserving them is no less important from a biodiversity point of view. “You might have a sample of wheat, say, that by modern standards is just terrible, but it could have one vital trait that is not found anywhere else – resistance to a disease that we don’t even know about today, for example. We can then crossbreed it to get that trait into the modern variety,” explains Fowler.

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

The Seed Vault was set up as a partnership between the Norwegian government, the Nordic Genetic Resource Centre (NordGen) and the Crop Trust (of which Fowler was previously executive director and where he is now a senior adviser) to conserve crop diversity in perpetuity. He well remembers the scale of the task that faced him and the team he was leading in the early days. “I’d been in the field for a few decades and I knew what was necessary to conserve crop diversity, but to do it in perpetuity? That was an interesting challenge. There are not too many jobs on the planet that involve doing something in perpetuity.”

One of the tunnels inside the vault

The vault’s construction and location were carefully chosen with that longevity in mind. Carved into the Arctic mountain, it is both physically secure – it could withstand a substantial bomb blast – and naturally cold and dry, the ideal conditions for preserving seeds. The ambient temperature inside the vault is approximately -4˚C, and mechanical cooling pulls that down to the optimum storage temperature of -18˚C. But even if the cooling system should fail, the collection would remain safely preserved for several decades. “There would be plenty of time to get up there and fix the equipment. There are no guarantees in this world, but we did the best we could with it.”

The hardest work, however, lay elsewhere, he says. “The management structure – that was the real challenge. I wanted a facility that involved as few human beings as possible, and that more or less ran itself. So that’s what there is – there are no staff located on site and the facility is naturally frozen.”

Read more: Dimitri Zenghelis on Investing in the Green Transition

Former UN Secretary-General Ban Ki-moon has called the Seed Vault an “inspirational symbol of peace and food security for the whole of humanity”, and there is a strong social justice element to its role. “I am very aware that when we do have a world food crisis, it will be the poorest of the poor who are the first to suffer,” says Fowler. “I grew up in the time of the civil rights movement in the US and have a strong interest in social justice as well as agriculture. My home is in Memphis, Tennessee, where Martin Luther King was assassinated on 4 April 1968. I was at his last speech the night before he was killed; it was very emotional.”

The next job for the Svalbard team – and for Fowler himself – is to raise the profile of biodiversity, both with the public in general and with philanthropists in particular. “Biodiversity is the greatest world problem that we face that we can actually resolve. If I ask you ‘What’s your solution for climate change?’, that’s really big and complicated. But we do have an answer to the question of how to preserve the biodiversity of food production – we know how to do that.”

What’s required is greater awareness and a willingness for institutions and wealthy individuals to recognise the importance of funding biodiversity, he adds. “If I was a wealthy individual and I wanted, for example, to save the whales forever, that would be a great thing to do but how much would it cost and how would you go about doing it? There’s no organisation in the world which could tell you that.”

Maize plants in a greenhouse at the International Maize and Wheat Improvement Center, Mexico. Photo courtesy of The Global Crop Diversity Trust. Juan Arredondo/Reportage by Getty Images for The Global Crop Diversity Trust

By contrast, saving crop diversity is both practical and relatively affordable. Smaller crops could be saved for around $5m, Fowler calculates, and the cost of preserving even the most important global crops is less than you might expect. “I can tell you the answer for rice, which is our biggest crop with the most samples and therefore the most expensive. Somewhere between $35m and $50m in an endowment fund would generate enough income to save all the rice diversity in perpetuity.”

In short, his pitch is that food is the bedrock of human existence, and crop biodiversity is a great way to maximise food security in a time when climate change and a host of other potential calamities are threatening it. “Those sums are well within the scope of a number of wealthy people, and they would be the first to do something quite extraordinary and inspiring. Can you name any other major world problem that we have solved, reliably and forever, within the lifetime of someone living today? Well, we can do it with this one.”

Additional research by Candice Tucker
Find out more: caryfowler.com; seedvault.no

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

Photograph by Isabella Sheherazade Sanai

The pandemic has accelerated the rise of environmental, social and governance (ESG) investing. However, argues Markus Müller, we must improve global standards continually if ESG is to fulfil its promise of driving economic growth while having a positive impact on the planet

Markus Müller

The coronavirus pandemic has made us acutely aware of risks to our existence and how fragile the global economic system is. Many are making the SARS-CoV-2 pandemic part of the reason why ESG has risen rapidly to the top of the global agenda, moving from rhetoric and ambition to action. At the same time, the many facets of ESG are being discussed and examined across a multitude of investment institutions, to establish what it really means and whether it serves a purpose at all.

In my view, ESG prompts a simple question about why and how we do things, as individuals, as investors and as companies.

ESG originally developed from institutional investors screening out negative risks in investment targets. Today, ESG is much more than a combination of investment ratings and exclusions. With the goal of sustainability as our objective, ESG offers a way of understanding and quantifying the non-financial dimension of economic activity and of avoiding the dangers of a ‘submerged iceberg’.

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This means identifying where the risks lie and developing innovative mitigation strategies. Mid- to long-term risk for an investor comes in many forms. Physical risks (damage or threat to physical assets due to natural or climate change) are accompanied by transition risks (business or investment risks on the journey towards a greener economy) and liability risks (reputational issues, breach of standards). These risks can affect companies in a variety of ways. Production disruption, raw material and share price volatility and capital destruction are just a few examples. Importantly, it all involves understanding nature as an asset, as an input factor in our production function.

Innovation means finding ways to avoid those risks while embracing change and preparing for new future-oriented businesses which are ESG-positive. This has two prerequisites. First, we need more data disclosure to measure the impact of what we are doing. Secondly, we need goals and an evaluation method. These two issues are linked: data will give us an understanding of the impact of economic activity and how to steer economic development, which in turn should allow us to refine these goals.

Systematic decision-making is more than just a means to an end in order to achieve an overarching, positive goal within the Purpose Economy. We must also ensure that, when looking at equitability of impact, a distinction is not merely made between labour- and capital-intensive activities. Rather, impacts should be considered in three ways: the impact of individuals (including companies); the impact of politics (including governments and institutions); and the impact of nature (including natural resources).

Fortunately, we already have broad goals. The UN Sustainable Development Goals and the linked UN Principles for Responsible Investment, along with the Paris Agreements as well as the (failed) Aichi Biodiversity Targets, have set the initial direction. But there is still no consistent global approach about how to go beyond these broad goals and to put them in a detailed synthesis with financial markets. Standards can help. Reporting is widening its scope: the Taskforce on Nature-related Financial Disclosures (TNFD) was recently launched to go beyond ESG scores and climate change, to include the risk factor represented by biodiversity loss. The International Financial Standards Reporting Foundation (IFSR) has also proposed the inclusion of sustainability standards within its constitution as it aims for the establishment of an International Sustainability Standards Board.

Read more: Dimitri Zenghelis on Investing in the Green Transition

So, we are advancing on multiple fronts, but the scale of the task here is enormous: even within rating agencies, ESG ratings and scores vary due to differing methodologies. Global sustainability standards for company reporting would allow integrating data, insights and ESG themes into business strategy, product-development cycles and risk management. Harmonised standards would also allow us to improve scoring, enabling a more sophisticated discussion of what exactly scores mean and the importance of a company improving its ESG score rather than just accepting it or simply trying to ‘game’ it.

At Deutsche Bank’s International Private Bank we continue to develop our methodology to make sense of this evolving landscape on global standards. We use ratings, drawing on the research and analysis of a leading third party provider, but it is important to consider these in context. We realise that we have to give firms credit for improvement on ESG metrics, for example. We also apply exclusions against sectors that go against UN goals and principles and generate long-term risks (around greenhouse gases, for example). Exclusions can also be applied on more individual value-based grounds.

Methodologies such as this require continual improvement through monitoring their effect on sustainability. But the priority should be to ensure that the impact of ESG on a client’s investments should be transparent and that they will lead to improved corporate behaviour on ESG issues. If we wish to make transparent the impact of our ESG activities, and if we want our economies to be ESG-positive, we need to all follow the same methods.

ESG is here to stay as a categorical imperative. It will, at the very least, slow down environmental degradation and will make the world and our lives richer and more meaningful.

Markus Müller is Global Head of the Chief Investment Office at Deutsche Bank’s International Private Bank. Find out more: deutschewealth.com/esg

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

Consumers and business owners should take time to educate themsleves about the most effective ways to combat global heating. Pictured: The Alps on the Swiss/Austrian border, where the total winter snowfall is predicted to fall between 30 and 50% over the next 40 years according to the Swiss Federal Office of Meteorology

The wealthy play a disproportionate part in contributing to greenhouse gas emissions. They have an outsized responsibility to lead the way in combatting global warming. But, crowd pleasing knee jerk reactions will only lead to greenwashing and appeasing the lowest common denominator in the climate debate. Truly effective action requires resources of the most valuable kind: education and thought.

When we published an article by Professor Peter Newell last year outlining the particular responsibilities the wealthy have for reducing carbon emissions, it caused a bit of a stir. The research by Professor Newell, a UK-based academic who was the lead author of a report on the subject by the Cambridge Sustainability Commission on Scaling Behaviour Change last year, showed that the wealthy are disproportionately responsible for CO2 emissions through their consumption, habits and ability to engage in carbon-heavy activities, from flying private to attending art fairs to buying bitcoin.

Not all our readers liked that. They pointed out they participate in carbon offset schemes; that some of their activities are to benefit philanthropic and charitable institutions (theirs and others); and that they were informed about how to lower their personal carbon emissions relative to what they had been before.

To unpick these arguments is complex and points to the quandary many world leaders (political, and other) have, post-COP26, in translating good intentions to make a difference, into effective action.

Are carbon offset schemes effective, or a type of greenwash? How do you balance the benefits of social activities around the world with their carbon cost? (We all have this conundrum, to an extent, encapsulated by the old argument about whether it’s better to buy Fairtrade coffee that benefits an impoverished community in Guatemala, but requires transportation around the world, or no coffee.)

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What does being informed consist of: should you look at the Net Zero policies of companies you deal with (their stated, and often theoretical, intention to not emit carbon, on balance, sometime in the future)? Or their Scope 3 emissions – the total emissions of all their suppliers? Or at their commitment to the new buzz phrase, a “Just Transition”, that will compensate poorer countries and companies for the undeniable costs of reducing carbon emissions?

Owners of valuable classic cars can claim they are preserving second hand goods with no extra carbon cost, and creating minimal carbon footprint as they are used so little

As a relatively small media company, we can attest to the experience of the latter. Our move to 100% recycled paper, with vegetable-based inks and biodegradable coatings, from our latest issue, increased our production costs by around 40%, for no perceived increase in quality or other commercial benefits, only our own leadership role in responsible culture.

One other challenge – and here I have sympathy with the arguments of some of our readers – is consistency. Firing salvoes at easy targets, while overlooking more significant “culprits”, is baked into society, and carbon emissions are no exception.

One LUX contributor has a classic Italian sports car, which spends most of its life sitting in a dark garage, doing no harm to anything and emitting nothing. A couple of times a year they find the time and opportunity to take it out for a spin.

It is an eye-catching old car, and can’t avoid being the centre of attention, good and bad. Last spring, during one of London’s lockdowns, they took it out to a London park where they were due to meet a friend for a (legal) outdoor coffee. As they were driving slowly through the park, looking for a parking space, a young-ish father on a bicycle with two children on smaller bicycles, riding behind, overtook them and shouted “Polluter!” at the top of his voice.

From his demeanour, smart bicycle and smartly dressed children, he looked like a normal, middle-class chap who might work in marketing (or the media).

Our contributor pondered on this for days. Were they a polluter?

They had bought the car when it was already more than 10 years old, so that was a form of vintage recycling with zero carbon costs of manufacture that any advocate for carbon reduction should approve of. Five months into the year, that was the first time they had driven it and created carbon emissions, a total journey of around 10 miles/16 kilometres, which is approximately one thousandth of the annual mileage of the average driver in a developed country.

A gathering of classic Ferraris at Blenheim Palace in England. Are their owners guilty of being ‘polluters’?

When driving, the Ferrari emits around 50% more carbon than the average car, but their total mileage in the car last year was only around 200 miles/320 km, which pegs their automotive carbon emissions at less than a twentieth of the average commuter. They customarily walk or cycle to the office and meetings in London.

Of course, there was no way their interlocutor would have known all this. But other reference points are out in the open.

For example, major airlines in Europe are being compelled to fly empty planes back and forth around the continent, closed to passengers, tens of thousands of times a month, according to reports by the aviation media. This is happening for a theoretically good reason: airlines fight for valuable slots to use in major airports, and the EU stipulates they have to use or lose these slots, to prevent monopolistic behaviour and increase competition.

With low demand due to the pandemic, airlines still have to use the slots: the EU has reduced its stipulations so airlines have to land their planes 50% fewer times at given airports than they usually would, but that still means that Lufthansa, for example, is compelled to fly 18,000 near-empty flights over the course of this winter. A single flight by an Airbus A319 from Berlin to London, say, emits 10 tonnes of carbon. 18,000 flights means 180,000 tonnes of carbon emissions for no purpose.

These numbers do not include the Scope 3 emissions of each flight – the cost of transport for the crew and service teams, and so on – and they are for just one airline, out of dozens following the EU rules.

Read more: Professor Peter Newell on climate responsibility

Lufthansa alone is being compelled to create CO2 emissions equivalent to 90,000 car driving commuters over the course of a year (or three million drivers of vintage Ferraris, although there are not that many vintage Ferraris to go around), just to comply with EU rules.

EU based airlines are being forced to create enormous amounts of unnecessary CO2 emissions by flying empty planes

Lack of consistency is sometimes used as an excuse to justify immoral behaviour – “Well, he says X but he does Y, so I am going to do Y also”, which is a fallacy. But equally, if we wish to target carbon emissions, we need to be educated, informed and active.

The EU’s well-intentioned but ecologically damaging rules on aviation slots (which have been picked up by Greta Thunberg, among others) are just an example: not an excuse for us to act worse, but a reason for us to focus on the right areas, educate ourselves, see beyond the obvious targets, which in many cases may not be the correct ones. Assumptions and preconceptions won’t solve our issues; thoughtful action will.

Ferrari F8 Spider. Photo by Max Earey

In the second part of our supercar series, LUX’s car reviewer gets behind the wheel of Ferrari F8 Tributo and the F8 Spider

That’s it, folks. Ferrari fans, please shed a tear as, for all the right reasons, these two cars are the end of the bloodline for Ferrari’s celebrated mid-engined V8 series of cars.

For many, this series personifies Ferrari: Magnum PI drove a red one in the 80s TV series. The ancestral line of two-seaters grew in power and capability, though not always beauty, from the sleek 308 of the 1970s and 328 of the 1980s, through the more wedge-shaped 348 and 355 of the 1990s (not always everyone’s cup of tea, but very much of their era), to the more rounded 360 and 430 of the 2000s, and the recent evolution through 458, 488 and F8.

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The engine has always been a V8, and for some years has been an artwork visible through a clear cover behind the driver. From now, for the best of environmental reasons, the V8 will be replaced by a hybrid engine, and so the F8’s engine represents the pinnacle of Ferrari petrol engineering. We tried it out in both the fixed-roof (Tributo) and convertible (Spider) versions of the F8. It’s a glorious piece of machinery, giving a surge of power which grows to the typical Ferrari climax and you shoot towards what would be take-off velocity in a plane.

Ferrari F8 Tributo. Photo by Max Earey

Every Ferrari handles well, but we couldn’t help feeling Ferrari had engineered some extra joy back into the F8 from the 488 which preceded it. There was a sense that Ferraris were getting too brilliant for their own good, beyond comprehension in the abilities they offered to a driver, but less engaging than of old.

Read more: Catherine Mallyon on the Royal Shakespeare Company’s Success

The F8 engages the driver again, the sharper steering and more involving suspension meaning you really feel like you are driving the car rather than being at the helm of a video game. Crucially, it does so at low speeds, so you don’t feel like you need to be taking it onto a racetrack for it not to be bored – a complaint we have with a number of supercars. Back when the V8 Ferrari bloodline started in the 1970s, the cars were not recommended at low speeds because they overheated and were hard to manoeuvre. More recently, they were easy to drive and reliable but a tad sterile. The F8 addresses this, and how.

The F8’s aerodynamic body and control-laden steering wheel are all about the technicality of driving at speed

Whether you go for the Tributo or the Spider just depends on your preferences. The closed-roof car is probably a tad sharper around a racetrack but it is impossible to tell the difference, roof closed, when you are not. We like an open-roofed car so we will take the Spider.

Is it a must-buy V8 Ferrari, the last of its generation? Some would say that moment came with the 458, which was the last to have a non-turbocharged engine, with less power but more glory in its sensations and noise than the F8. Others would point to its predecessor, the 430, the last with a traditional metal-gate gearshift, which has a rawness and sharpness which even the F8 hasn’t quite gained back.

What’s certain is that it’s notable in itself for its sheer tearing thrust, the sharpness and brilliance of its handling and its joie de vivre. Ferrari really is on a roll, and Ferrari fans everywhere will be hoping it continues as the company moves into a more electric future.

LUX rating: 19/20
Find out more: ferrari.com

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

Celebration for the 400th anniversary and Shakespeare Live, 2016. Photo by Lucy Barriball

The mass closure of theatres in recent years has signified the loss of a vital creative touchpoint for audiences around the world. How, indeed, are theatres to continue captivating spectators with their doors closed? Samantha Welsh speaks to Catherine Mallyon, Executive Director of the Royal Shakespeare Company (RSC), about how the global heritage brand is weathering that storm – and has emerged from it thriving. From interactive online shows to its Next Generation talent development programme, the opening of its new theatre in Stratford to its ongoing work with schools, Mallyon reveals that the RSC’s future is more exciting than ever

Catherine Mallyon. Photo by John Bellars

LUX: From city trader to leader in arts administration: was this pivot by accident or design?
Catherine Mallyon: Entirely by design! I wanted to develop professional skills for arts administration and thought finance was a good place to start. Having said that, I ended up undertaking a range of roles within the bank and found it fascinating.

LUX: As Executive Director of the Royal Shakespeare Company, would you say that you are managing a global heritage brand?
Catherine Mallyon: I’d certainly agree that we are a global brand with a strong heritage, but the Company is a forward thinking, innovative and contemporary industry leader. I believe that people associate the RSC with excellence, innovation, and ambition in all the work we do. And of course, great entertainment. We believe that all societies are richer if everyone has access to great theatre. Our mission is to inspire and captivate audiences wherever they are, and to transform lives through amazing experiences of Shakespeare’s plays and great theatre.

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LUX: How can the next generation help, whether as patrons, or as managers of tomorrow?
Catherine Mallyon: We have a Next Generation talent development programme and a very active Youth Advisory Board – all young people from backgrounds and areas that have little access to theatre or careers in theatre. The focus is to give them the chance to explore a career in acting, directing or working backstage, but also developing their leadership skills so they can make their way in a career in the arts and be tomorrow’s leaders.

We have trained generations of the very best theatre makers but recognise that young people from low income backgrounds remain under-represented across the industry. We work with over 150,000 young people through our Associate Schools programme, alongside our 12 partner theatres. This work is in depth and long-term and demonstrates the power of Shakespeare and the arts to impact on young people’s lives and futures. They are very much involved in shaping the work that we do, and we hope their involvement helps to develop a lifelong love of theatre and Shakespeare.

From The Magician’s Elephant. Photo by Manuel Harlan

LUX: UK government funding for the arts has plummeted in recent years. Why is it important to counteract this?
Catherine Mallyon: School is where first encounters with Shakespeare are guaranteed to happen for all children in England and Wales, and 50% of school children around the world. These formative experiences can define how we feel about Shakespeare and theatre for the rest of our lives. We therefore place a special emphasis on working with children, young people and teachers in primary, secondary, special schools and colleges.

We have compelling evidence built over many years that demonstrates Shakespeare’s plays taught using approaches inspired by the way RSC actors and directors work in the rehearsal room can have a significant impact on young people. It raises aspirations and attainment, develops resilience and confidence, promotes wellbeing, inclusion and a sense of belonging in individual children, parents, whole school communities and in adults.

LUX: Do you see the arts as soft power?
Catherine Mallyon: Theatre and the performing arts are British assets of global significance. The UK Box Office alone generates £1.3 billion per year and theatre directly employs 290,000 people. Britain’s 1,300 active theatres draw a combined audience of 34 million people – twice that of the Premier league. We can achieve so much with a strong, inclusive and vibrant arts sector.

LUX: How did the Board manage to minimise losses over the last 15 months?
Catherine Mallyon: Covid has impacted all our areas of our operations. We lost the majority of our income overnight and had to do everything we could to minimise losses. We adapted swiftly so that we could continue to serve our communities. We offered a range of activity including launching the Royal Shakespeare Community online, offering Homework Help to children, young people and their parents; we continued to work online in communities with our network of partner schools and theatres; we performed outdoors to socially-distanced audiences in our Dell Gardens; and continued our nationwide programmes of talent development and young Shakespeare Ambassadors with young people from backgrounds currently under-represented in our workforce.

We’re delighted that our sponsors and partners continued to support and collaborate with us on our digital, Learning and community programmes and we can now welcome them back to live performances on stage with the opening of our temporary outdoor theatre – The Lydia and Manfred Gorvy Garden Theatre.

Royal Shakespeare Theatre. Photo by Sara Beaumont

LUX: Which productions have been most commercially successful in recent years?
Catherine Mallyon: Far and away it has been the wonderful Matilda The Musical – it has won 99 international awards and is still the thing to see in the West End. It came back to celebrate its 10th birthday this autumn. Our productions of Wolf Hall and Bring up the Bodies were also extremely successful, and we were thrilled to present The Mirror and the Light this autumn alongside Playful Productions.

Read more: Nayla Al Khaja on filmmaking and female empowerment

LUX: And artistically speaking, which productions would your Artistic Director say have broken new ground?
Catherine Mallyon: Audiences experienced a new performance environment easily accessed on their mobile, desktop or tablet with Dream, led by the RSC and created in collaboration with 15 partners including Manchester International Festival, Marshmallow Laser Feast and the Philharmonia Orchestra. The performance used the latest gaming and theatre technology together with an interactive symphonic score that responds to the actors’ movement during the show. We learnt a huge amount from that project and it was a fantastic collaboration.

The Comedy of Errors, July 2021. Photo by Pete Le May

LUX: With theatres reopening, the RSC has launched its fourth theatre in Stratford-upon-Avon. Tell us more!
Catherine Mallyon: It is very exciting to finally have audiences back at on-stage performances. The new, outdoor Lydia and Manfred Gorvy Garden Theatre was a brilliant way for us to welcome audiences back as many have told us that they are nervous about returning to an indoor setting. It can seat up to 500 people but we performed to a reduced capacity over summer. It’s a beautiful setting by the banks of the River Avon and with the Royal Shakespeare Theatre and Swan Theatre directly behind. The Comedy of Errors looked fantastic on the stage.

Catherine Mallyon is the Executive Director of the Royal Shakespeare Company (RSC)

Richard Leakey (Left) Geoffrey Kent (Right)

Richard Leakey FRS passed away at the age of 77 on the 2nd January 2022. His old friend, Geoffrey Kent, founder, co-chairman and CEO of Abercrombie & Kent looks back at the extraordinary life of the Kenyan paleoanthropologist, conservationist and politician

Richard Leakey’s groundbreaking research contributed to the recognition of Africa as the birthplace of humankind.  One of his most celebrated finds came in 1984 when he helped unearth “Turkana Boy”, a 1.6-million-year-old skeleton of a young male Homo erectus. Most recently he commissioned a museum of human history to help bring cultural tourism to Lake Turkana, a World Heritage site.

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He began his second career in 1989 when Kenya’s then president, Daniel arap Moi, appointed him to head what would become the Kenya Wildlife Service (KWS). It takes a visionary to forge new strategies to protect wildlife – and Richard was nothing if not that. Who else would burn a huge pile of ivory? That became the defining moment in turning the tide in the ivory wars. In the 11 years that followed, the elephant population in Kenya increased from 16,000 to 28,000.

Based on our lifelong friendship, he became a trusted ally for private sector travel companies like Abercrombie & Kent that wanted to support conservation efforts. This kind of public-private partnership was far less common in those days, yet he embraced the idea wholeheartedly, and of course A&K stood ready to make a difference. Together we brainstormed cutting-edge efforts to involve communities through conservation clubs and field tested the translocation of rhinos. We even persuaded HRH Prince Charles to lend his support for these efforts.

Read more: ZeroAvia’s Val Miftakhov On Zero-Emission Aviation

Time and time again he cheated death. He fractured his skull as a boy, was bitten by a puff adder, the most-deadly snake in the world, almost died after receiving a kidney transplant, lost both legs in a 1993 plane crash and was treated for skin cancer.

“I was deeply saddened to hear about the passing of the legendary Richard Leakey, paleoanthropologist, conservationist and head of Kenya Wildlife Service for many years, but also my childhood friend and, no doubt, African wildlife’s best friend. From our first meeting at age 6 when we were learning to ride on the South Kinangop to our recent trip together to Kenya just before the pandemic, I enjoyed every moment with him and will truly miss his companionship and wonderful sense of humour,” commented Geoffrey Kent, founder, co-chairman and CEO of Abercrombie & Kent.

Richard Leakey 19 December 1944- 2 January 2022

When the pandemic grounded air travel in 2019, it also brought grounding of a different kind: a chance to reflect on the aviation addiction which now constitutes 2 percent of all global carbon emissions. Far from settling into the flight-shaming craze, however, cleantech entrepreneur Val Miftakhov decided to find a solution. His company, ZeroAvia, is working to enable safe, zero-emission aviation by replacing conventional fuel engines with hydrogen-electric powertrains – and now counts Jeff Bezos, Bill Gates and British Airways among its investors. Here, Miftakhov speaks to Ella Johnson about how decarbonising aviation poses both a challenge and an opportunity, and why Elon Musk is missing out

Val Miftakhov, Founder, ZeroAvia

LUX: What has your cleantech journey looked like so far?
Val Miftakhov: My first company, eMotorWerks, was in the EV charging space. We developed the world’s leading platform for EV battery aggregation to provide grid services, and the company was acquired in 2017. I then started looking at the next big opportunity for electrification, which was aviation. It fascinated me because I am a pilot myself, but also because I am a passionate believer in the enormous societal, cultural and economic benefit that aviation has brought to the world over the last century.

The aviation industry contributes less than 3 percent of global carbon emissions, but due to non-carbon climate forcing mechanisms (particulate emissions, nitrogen and sulphur oxides, and water vapour emission) the actual climate impact is somewhere between 5% and 10% already. That’s only set to worsen given that aviation is one of the fastest growing emission sources, and 5-10% could quickly become 25-50% by 2050 – especially as all the other pollution sources get cleaned up. Aviation, a truly majestic feat of human ingenuity and achievement, is under threat because of this. So, as a physicist by training, I started looking for the solutions.

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LUX: So, what solution has ZeroAvia come up with?
Val Miftakhov: Naturally, as a successful EV start-up founder, I probably had a bit of a bias towards batteries at first, but the energy-to-weight ratio just makes it practically impossible to fly conventional fixed wing aircraft with any decent volume of passengers over any commercially useful distance. We quickly landed on hydrogen fuel cell technology as the answer. We believe it to be the best possible solution for tackling not just carbon emissions, but also the full climate impact of aviation.

LUX: How does it work?
Val Miftakhov: This approach converts hydrogen fuel into electricity in the fuel cells onboard the aircraft to power motors. This retains the benefits of zero emission that we have in battery electric vehicles, but with the required range and payload. Plus, a hydrogen-electric plane does not burn any fossil fuel, so there are no climate harming emissions, and the water vapour emissions can be very effectively managed due to a much lower vapour temperature compared to any combustion technology.

LUX: Hydrogen fuel cells have been in commercial use since the 1960s. Why has no one successfully brought it to aviation before ZeroAvia?
Val Miftakhov: Society didn’t really see jet fuel as a big problem until relatively recently: we had already invented the jet engine, we had cheap fuel, so what was there to worry about?

Hydrogen fuel cell technology has also developed a lot since the first introduction, and especially in the last 5-10 years. The first commercial hydrogen car was introduced to the market by Toyota just 6 year ago, and hydrogen heavy duty vehicles – trucks and buses – are just starting to be deployed. All of this very recent progress makes it possible to consider aviation applications that are even more advanced.

Another reason for accelerated adoption now is the progress on green hydrogen production technologies. Electrolysis equipment is now maturing and entering a rapid cost reduction phase – not unlike the solar panels 15 years ago. Already today, large scale electrolysis production results in the equivalent fuel costs below that of jet fuel for sub-20 seat planes.

LUX: How will ZeroAvia continue to achieve green electrolysis as the company grows from conceptual to commercial scale?
Val Miftakhov: Hydrogen to fuel aircraft can be created on the ground by splitting water (H2O) into hydrogen and oxygen using electricity to power an electrolyser. If the electricity used here is generated through zero-emission sources like solar or wind, the fuel itself can be created with zero-emissions as well.

The level of investment in both renewable energy and hydrogen infrastructure is positive and we are optimistic that the price of hydrogen fuel for aircraft will soon match jet kerosene even for larger aircraft and large operators. This will mean we can significantly lower operating costs for airlines, making adoption a no brainer. Of course, it is highly important that industry and government work together to ensure renewable supply and green hydrogen production can scale as quickly as possible and achieve price parity and beyond.

Read more: Dimitri Zenghelis On Investing In The Green Transition

LUX: How are you overcoming problems of hydrogen storage and fuel cell transportation?
Val Miftakhov: There are definitely challenges to overcome, but they are engineering challenges versus fundamental physical constraints, so it is achievable and exciting to be involved in. Storage is definitely one of the big issues and we believe we have designed appropriately for that with gaseous hydrogen for our initial models.

As we get beyond 40 seats, however, we will use liquid hydrogen fuel to overcome the space constraints of H2 gas. We intend to do this with existing airframes up to the very large, long haul jets when we believe that fundamental aircraft redesign will be necessary. Liquid hydrogen as a fuel also produces some fuel storage and infrastructure challenges we need to overcome in partnership with the aviation industry at large. As we expect the hydrogen-electric powertrains for these larger vehicles to become available around 2035-2040, new aircraft designs become quite possible on that timeframe.

Image By Victoria Primark

LUX: Why isn’t Sustainable Aviation Fuel (SAF) a long-term solution for the industry?
Val Miftakhov: These drop-in fuels are certainly critical to reducing carbon emissions today, but they are fundamentally a bridge technology as they cannot eliminate most of aviation’s climate impact, especially as the industry grows in line with demand. SAFs still rely on combustion which causes nitrogen and sulphur oxides, particulates, soot and high temperature water vapour at high altitudes. It’s still a cocktail that will have a huge impact on climate change. We need to invest and give room for true zero-emission technology to come through.

LUX: Elon Musk has described hydrogen fuel cell vehicles as ‘mind-bogglingly stupid’. Why do you think he is not backing them, and why should he be?
Val Miftakhov: He has plenty of other technologies that he is invested in! When you have created an automotive company that’s the most valuable in the world on the premise of battery-electric, it’s very easy to say that to people who champion fuel cell cars. And for the light duty personal vehicles Elon very well may be right. Hydrogen favours higher energy intensity, higher utilisation applications with more concentrated fueling infrastructure. Aviation fits the bill perfectly.

LUX: Are you planning to bring the hydrogen-electric powertrain model to cars in the future?
Val Miftakhov: At this point, we are focused 100 percent on aviation applications. It’s an easy choice: with Tesla and now all other major automakers pushing the EV revolution, it’s fairly certain that we will have rapid transition to EV ground vehicles. In contrast, aviation is at ground zero today, and while it constitutes a smaller part of emissions, it’s harder to abate, and growing quickly. It will be a much larger slice of the pie in 20-30 years.

LUX: What advice do you have for other cleantech entrepreneurs?
Val Miftakhov: My advice is to look at the challenge and find the most impactful, practical solutions based on the first principles and the real physics of the problem, and try to shed yourself of any bias you might bring into the endeavour.

Val Miftakhov is the founder of ZeroAvia 

The Splendido with its legendary pool and restaurants, above Portofino. Image courtesy of Belmond/Mattia Aquila

In the third part of our luxury travel views column from the Autumn 2021 issue, LUX’s Editor-in-Chief Darius Sanai experiences la dolce vita in Portofino

My one encounter with the Splendido Mare, the village-based sister hotel of the celebrated hillside Splendido in Portofino, was a little over 10 years ago. Since then, the port area of the village has been pedestrianised, and the Mare has been upgraded with its own character (to reflect a kind of village-chic identity, escaping from the shadow of its showy sibling). What a difference! Artful touches, gentle lighting and townhouse style abound, and getting to our “village view” room along a labyrinth of corridors was a delight, with a feeling of staying in a real house. “Village view” could mean a wall, but actually it was out along the Via Mare, the cute main street, which, now pedestrianised, was a blush of colourful visitors eating ice-creams and pizza at the outdoor restaurants. Perfect insulation meant it was quiet, also.

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We arrived late one evening, met at the other end of the Via Roma (all of 100 metres away – Portofino is tiny) by the hotel porter who took our luggage while another parked our car. On the stroll into the hotel we noticed the restaurant at the front of the building, on the main piazza on the harbourfront, was buzzing; twenty minutes later we were installed at a table on its front row, with a perfect vista of the evening passeggiata as the light dimmed over the hillsides on either side of the harbour.

The terrace of one the bedrooms at Splendido Mare

The Mare has a family-run vibe, despite being part of an international hotel group; the fritto misto of fish and shellfish with fruit and vegetables was a spectacle in the serving, and worked extremely well with a bottle of Lagrein red from northeast Italy, although a more conventional choice from the wonderful wine list would have been a Frascati or even a chardonnay-based Franciacorta. Next time.

Read more: Nayla Al Khaja on filmmaking and female empowerment

The beauty of the Mare is you can step right out onto the harbourfront (now with zero traffic and no noisy Vespas – a true transformation) and, in our case, onto the hotel’s boat for a whizz around the coastline: to the lighthouse point at the tip of the peninsula and back along the coast to the resort town of Santa Margherita Ligure, playing a game of spot the mansion (Dolce & Gabbana; Versace; Berlusconi; Agnelli) and spot the yacht (pass – seems like stalking).

The harbourfront at Portofino, home to the Splendido Mare. Photograph by Darius Sanai

And then it’s a short shuttle ride or walk up through the gardens to the original Splendido. This grande dame is perched high above the village, and there’s no better introduction than a long pizza lunch (those pizzas! That tomato sauce!) accompanied by a longer bottle of Ca’ del Bosco rosé Franciacorta (Italy’s splendid alternative to pink champagne); the pizzeria is metres from the pool, where you can revive yourself afterwards.

The Splendido’s curved pool is a historic place to gaze out over the bay and dream; we had an even better alternative in the form of our balcony, which had the same view and no other people. Aperitif, quick change, down to the bar above the pool for a little jazz piano and the same view, seen from within the gardens; and then dinner. Definitely the place for the ravioli with Ligurian herbs, lobster and bisque.

Book your stay: belmond.com

This article was originally published in the Autumn 2021 issue.