The living space of a three bedroom apartment at 101 on Cleveland, designed by Bergman & Mar. Image by Taran Wilkuhu

London-based interior design studio Bergman & Mar has developed a reputation for designing unique, artisanal spaces for London’s sleekest new developments. The studio’s latest project, 101 on Cleveland, combines organic elements with brass detailing to bring organic luxury to Fitzrovia. LUX speaks to the founder, Petra Arko, about craftsmanship, storytelling, and the art of bringing a show apartment to life

1. Bergman & Mar is renowned among London’s leading property developers. How do you bring the show apartments you work on to life?

Our vision for every project is created by staging and storytelling. We immerse ourselves and understand the area, culture, space, and potential homeowners’ needs for each project. We love incorporating organic shapes, daring palettes, and unique textures into our schemes to provide personalised solutions for our clients that have a lasting impact. I still get excited when we walk into a new but very bare apartment: it’s like an empty shell. It’s wonderful to give it a soul and transform the space into a warm, welcoming home.

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2. Your latest project, 101 on Cleveland, draws clear inspiration from nature with its autumnal interiors. What was the thinking behind the palette?

Colour impacts the human mind and helps create ideas whilst generating certain emotions, so we always try to base our selection on that concept. The palette for the 101 on Cleveland project was carefully thought through to represent the diversity and history of the location. A selection of various finishes were combined to show a subtle mix of elegance that all contribute to the look and feel of the apartment. Brass detailing and organic elements flow throughout the entrance, living, dining and study spaces to create a sophisticated space that reflects the streets of Fitzrovia.

The live edge dining table is one of our favourite pieces. As you walk into the space, your eyes can’t help but be drawn to the walnut slab’s visual textures and organic edge, which gives a unique feel to the area. We discovered Martelo & Mo [who designed it] not too long ago. They’re a British-made studio run by a husband and wife with a passion for designing and creating functional, well-made furniture from sustainably sourced materials. We love their approach to creating handcrafted pieces of furniture made with their minds and hands that respect the integrity of materials while considering how they look and feel.

3. How does sustainability intersect with your design process, aesthetic and otherwise?

Longevity and sustainability in design is nothing new to Bergman & Mar: we are passionate about [these things] and strive to ingrain [them] in all of our projects. The change now is about making sustainable design attractive and stylish. We are moving away from purchasing off the shelf by investing in vintage, upcycled and bespoke furniture, looking to source those unique and iconic designs of the past and working with craftsmen and makers that are consciously sourcing and working with sustainable materials.

One of the apartment’s bedrooms. Image by Taran Wilkuhu

4. Bergman & Mar frequently draws together the work of established designers with that of emerging ones. Why is that important to you?

We work not only to support ethical and sustainable furniture, but also strive to recommend genuinely inspirational people with meaningful stories. We aim to source pieces our clients can keep for life and perhaps pass on to the next generation. The design should not be for single-use and should last forever; likewise, we want to uncover the makers that [have longevity], will be the next Jeanerette or Eames. Design that is within reach, and yet beautiful, long-lasting and iconic.

Read more: Legendary Designer Christian Louboutin on Passion & Solidarity

Something very magical happens when you find a beautiful workshop making genuinely unique, quality handmade products. The makers are modest, down-to-earth personalities that live and breathe their designs. We live to work with these individuals, share their stories, their struggles and wins.

5. How has your Slovenian heritage informed your design philosophy?

I grew up in Slovenia during socialism, where our unique geographic position nestled in the Alps (between Austria, Italy, Hungary and Croatia) meant that we benefited from rich cultural and design influences. In the small alpine town where we lived, the craftsman and makers were part of the community. Perhaps Fitzrovia’s colourful cultural history and home to British craftsmanship resonate with me in this sense. Our vision [when we began the studio] was to create a space that was a combination of cultures coming together: we sourced items from various artisans and local suppliers to provide a curated list of re-editioned and future icons that resulted in a unique apartment space.

6. What’s the story behind the name Bergman & Mar?

Slovenia is nestled between the Adriatic Sea and the Julian Alps, so Bergman (‘mountain man’) and Mar (‘sea’). Mar is also part of my mother’s maternal name. The name Bergman & Mar is also a somewhat sentimental reference to my childhood and the influence my dad had on my creativity. My dad is a film director, and his book about Ingmar Bergman sat on our piano when I was growing up.

Find out more: bergmanandmar.com

The Mercedes-AMG G 63 is part limousine, part sports car and part SUV, with its lavishly appointed interior, sheer pace and rugged details such as the extended wheel arches

From supercar to supreme cruiser, our reviewers sample some of the latest and greatest from the automotive world, starting with the Mercedes-AMG G 63

Rain; hail; wind; floods. The north European summer offered it all this year. So, we decided to do a country drive with a difference by calling on the AMG G 63. If you have been to a big metropolis recently, you will have seen these, often driven by gentlemen from major oil-producing regions (and we don’t mean Norway). Don’t let that put you off, though, as the G 63, cartoonishly tall and square with rounded-off corners, is a cool-looking bit of design.

The details are even cooler. Doors have been engineered for the opposite of ‘soft-close’: they need to be shut with a slam, and make a satisfying whump on doing so. You have to climb onto a sill to get into the car, and the noise on start-up sounds like a dozen hungry Rottweilers.

But this is not a car only for poseurs. Its passengers agreed it was the most comfortable SUV they had sat in (and these are connoisseurs of the high-end SUV). Smoother than a Lamborghini Urus, less floaty than a Rolls Cullinan, and utterly distinctive and fun.

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The same could be said for the driving: bumbling out of London, it felt like driving a very nicely engineered small house. A fast one, too, as putting your foot down reveals comical acceleration, aided by well controlled suspension that doesn’t lean too much, but also doesn’t bump you around, either. A very hard trick to get right and one which most manufacturers of fast SUVs don’t manage.

Once we were in the countryside, and since this was a road trip in supposedly one of the most adept off-road vehicles in the world, we had to resist the temptation to head off across the fields to test its abilities. We suspect the car would have been fine (it was even wearing Scorpion all-terrain tyres!), the farmers less so.

Fortunately, it rained on our country hotel retreat. Chewton Glen, in Hampshire, is a hotel that has been around long enough, and been reincarnated enough, that it knows what to do in the rain: big indoor pool with picture windows, big hydrotherapy area (indoors and out), and plenty of salons inside in which to chill out.

But, as the rain poured down, sending mini-streams across the windows and the tarmac, there was only one thing to do. Take the G 63 out along country roads.

To say it was in its element would be a gross understatement. It seemed the car grew even stronger and more grippy in the driving rain. Several centimetres flowing across one part of one road didn’t phase it, with not even a tricky twitch of the wheel; braking and accelerating was not just managed, but done with aplomb.

For us, the most important observation was not on the night of the heavy rains, but ahead of the journey home the next day. This tall, quirky looking, idiosyncratic machine is not just super-fast and capable. It is exceptionally comfortable to be in over long distances, which is something we didn’t expect, and, most refreshing and unexpected of all, it’s genuinely fun to drive.

We expected it to be a hoot in town, due to its height, its power and the way instant reactions have been programmed into its being. As a city car you may wish to take into account its size, height (for car parks) and the attention it commands, most of it good, some of it less so. But it is also a highly enjoyable companion on a long drive. And it still looks super-cool on a run around town, particularly if you place a two-metre-high, two-metre wide man in stubble, wrap-around shades, and a shiny suit with a bulge in the passenger seat.

Find out more: mercedes-amg.com

This article was originally published in the Autumn 2021 issue.

Nayla Al Khaja

Nayla Al Khaja is the first female filmmaker in the United Arab Emirates and a pioneer of Middle Eastern film on the global stage. Here, she speaks to LUX Contributing Editor, Samantha Welsh,  about the importance of recovering nuance and overcoming prejudice through storytelling.

Nayla Al Khaja is not one to shy away from glass ceilings. Besides founding Dubai’s first film club (The Scene Club, which has over 22,000 members), she has received widespread acclaim at international film festivals for challenging gendered and cultural stereotypes in her work. Now, Al Khaja is striving to bridge cultural difference and inspire the next generation of Middle Eastern filmmakers. Her conversation with LUX is timely: as Saudi Arabia announces unprecedented investment in cinema over the course of the next five years, it seems that Al Khaja’s work is only set to skyrocket.

LUX: You describe yourself as a storyteller, is that right?
Nayla Al Khaja: My curiosity has always had a bigger appetite than anybody else around me. What drives me is human stories that touch the heart and mind. The power of storytelling encompasses a lot: it breaks [everything] down to its bare minimum. That’s what brings us together as humans. Film does that in such a visceral way.

Private film made for an initiative under the office of H.H Sheikh Mohammad bin Rashid

LUX: Your work often challenges the dominant western narrative of the Middle East. How important is it to you to retell that story in different terms?
Nayla Al Khaja: The Middle East has always been portrayed in one light. I don’t feel that the West quite understands the nuances of different countries, and the [varying] position of women, in the region. It is exhausting. I think people would be shocked to see that female empowerment is a massive checkpoint here. There are some stunning examples of women – ministers, judges, criminologist – who are really leading the way. 62% of graduates and workplaces are helmed by females in powerful positions. Of course, there are families that are still very conservative towards women. If today I [were to] take an hour and a half flight and land in Beirut Lebanon, it would be a completely different tolerance level. But things are changing quite fast. To paint twenty or more countries in the same way is murderous, in my opinion.

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LUX: Your films explore cultural differences in a way that bridges divides and reveals our shared humanity. Is that key for you?
Nayla Al Khaja: It is very key for me. My first feature film, which is scheduled to be shot in March 2022, is precisely that. It’s called ‘THREE’ and its part of a trilogy. It’s about an Arabic woman who fights very hard to save her son’s life in [the face of] various adversities. She finds help in the hands of a total stranger, an American doctor, who gets complete access to this conservative family. Things kind of break down and, in the end, they find common ground. It’s based on a true story in Dubai in the 90s. It’s very heart-warming; the meeting of minds. We are looking at casting a very big name either from UK or USA. I am very excited about it.

LUX: You’re currently working on another work that flips gender stereotypes entirely. Tell us about that.
Nayla Al Khaja: I’m doing an anthology called ‘The Alexandria Killings’, which has been in my mind for years. It’s [a true story] about two sisters from Egypt in 1921, who ran brothels in Egypt, then resorted to killing when Egypt crumbled after the British empire left. It’s out of this world: I’ve been obsessed about them and have done a lot of research. I like the fact that it’s about women who weren’t ‘proper’: women usually get stereotyped, but those two were really a mafia. They ran a whole gang. You never connect that with the oppressed Arab women who are painted in the West. These two sisters are going to break that completely. I pitched it to Rocket Science [film studio] in London, who really liked it, and they ended up getting Oscar winner Terry George to be the director. I sit on it as the executive producer. To have something I have been dreaming of for years realised is such a blessing. It’s like my first international glass ceiling has been broken.

LUX: How has your work been received at home?
Nayla Al Khaja: There has been a sea change among young people. Although I’m a tiny fish in a massive ocean outside [my country], I am a fish in a small aquarium here. I can really make a difference in my home, amongst my people, because I can see the influence. Young people constantly email me! It makes me realise how one person can impact a generation of young people to think outside the box, to be daring and push the status quo. Every time there is a push like that, things expand. They might be slow expansions, but if we look back ten years ago, we have come very far.

Read more: Philanthropy: Cultural Changemaker Surina Narula

LUX: That responsibility to share your expertise with others, does it inform any other elements of your process?
Nayla Al Khaja: I like to street cast. In my film Animal, many of the actors hadn’t had any experience before and they were absolutely brilliant. The young actress had never been in front of a camera before. The father hadn’t had much of acting experience either: this was his second short film. But when you give them the right tools you can really get gems out of them. With Animal, I won best film in Milan out of 72 entries!

LUX: Are you optimistic about the future of film?
Nayla Al Khaja: I feel we are losing the golden era of cinema. Everything is going at a much faster pace, and that’s not necessarily a good thing. [Previously], it was all about character and story, but now it’s about special effects; the bigger the better. We need to stop, pause, take a deep breath, and start to appreciate the beauty outside rather than the technical. One thing that’s worth noting is that Saudi Arabia announced the opening of over four thousand cinema screens in the next five years, which means it could be the next Mecca for filmmaking, and all the incredible talents will have a platform. The potential in storytelling and financial gain here is enormous.

LUX: How do you propose to drive that change?
Nayla Al Khaja: I have a sensational art house film which could potentially really shake festivals, because there has never been anything like it. Not because I’m directing it but because of the aesthetics: we are going to shoot in the mountains in the gulf, where no one has ever filmed, in a language that’s dying, which my grandma used to speak [the mountain language, Shehi]. Unfortunately, the challenge that I face is that it’s virgin ground. People often think, ‘it’s easy for Arabs to find money’. Believe me, raising money for films may be difficult everywhere but it’s excruciating here. There has never been a local film with international presence and financial returns. So, I’m finding a formula to crack that. I’m just glad to be pioneering.

As with all of our philanthropists, readers who have their own foundations and philanthropic interests are encouraged to reach out to our interview subjects and their institutions directly

Find out more: www.naylaalkhaja.com

Maureen Bryan & Don McCollin in their studio. Photograph by Maryam Eisler

43 years ago, Don McCollin and Maureen Bryan met and formed a bond which would later result them to become an iconic duo in experimental design of furniture and objects. LUX’s Chief Contributing Editor, Maryam Eisler, speaks to the pair about the philosophy behind their works.

Maryam Eisler: How did you two meet and start working together?
Don McCollin: We met at Middlesex Poly college, 43 years ago in 1979. We didn’t know each other at first and then after we left in 1982, we kept in contact. We started by printing T-shirts and doing little projects like that. The first thing was a collection of Caribbean flags on t-shirts at the Notting Hill Carnival. We also printed textiles together. Eventually, we made a clock, which ended up being John Lewis’ best-selling clock! The idea was to make things. Make and sell. It’s also always been about materials. Our first commission was to do all the furniture for the restaurant at the Geffrye museum (now, the Museum of Home) in the East End.

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Maryam Eisler: If you had to boil down the ethos of your business today to one or two words, how would you best describe it?
Maureen Bryan: One or two words is going to be difficult. In a few words, both of us want to make pieces that cause a reaction in the viewer, a sort of pleasure zone. We want to move people and make them go ‘ah’. It doesn’t have to be intellectual, but it has to be from the heart. It is also about keeping the artistic integrity in what we make. We still want to put that individuality into each and every design. The pressure is on us to increase production but we’ve stuck to our guns in not wanting it to run out of control.

The Aurora Folding Screen in shades of blue with a brass frame. Limited Edition of 8

Don McCollin: Yes, I always give the analogy that if I couldn’t do this, I would have loved to be a musician because music has that kind of power, to move people. I try to do what I do and have that exact reaction in people. There is always the idea of every single piece being slightly different even if the intention is not there. It’s about those accidental moments.

Photograph by Maryam Eisler

Maryam Eisler: Tell us about the importance of light and translucence in your work.
Maureen Bryan: My very first inspiration was a dream of a glass with ice cubes in it, and the light play. We initially made several key pieces using old lenses, old pieces of glass. We looked at the transparency of say Murano glass where you get that special depth of colour. We like playing with the depth of colour because it allows you to see more in a piece. We also started experimenting with domes on top of mirrors and realised that you get layers of reflection as well as layers of refracted light.

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

Don McCollin: It’s not always about what is there in front of you; it also has to do with your depth of concentration at the time of observation. Depending on where you concentrate when you look at a piece, that will then inform the perceived reflection.

Photograph by Maryam Eisler

Maryam Eisler: Do you ever consider your work in a more philosophical, poetic manner: thinking about multiple realities, imagination versus reality, the conscious versus the sub-conscious, shadow and light?
Maureen Bryan: I think we do subliminally, without necessarily articulating it. Perhaps we should try to articulate our philosophies more, but we’ve worked together for so long that we instinctively know what we’re individually talking and thinking about. In design, It’s not just how something looks on the surface; there’s always a multitude of layers and depth.

The Cendrillon table, clear resin with a gilded pattern. Limited Edition of 20.

Maryam Eisler: I see beauty in your work. Is that a taboo word or are you okay with the concept of beauty?
Don McCollin: I am. I very much like to produce things that people end up liking, objects that have a certain romantic beauty about them. And, I’m highly unapologetic about it all. There might be some link to my textile background. I trained initially in textiles, in brightly coloured beautiful things. And I allowed beauty to just be there. So it’s not necessarily a bad word.

Maureen Bryan: Beauty is a funny word to use because it is so avoided by society. I think we have avoided articulating it too much because we feel it may in fact over-intellectualise a concept. You don’t want to have to explain it necessarily.

Photograph by Maryam Eisler

Maryam Eisler: What other characteristics do you take into consideration when designing?
Don McCollin: Another dimension which we sometimes incorporate into our designs is humour. When we first started making the beans, I always used to put a penny in there because I thought: if they’re not going to be of any worth, at least they will always be worth a penny!

Photograph by Maryam Eisler

Photograph by Maryam Eisler

Maryam Eisler: In terms of the production techniques which you use, it’s not just about the physical hand at play, you also have technology and robotics which together with the human hand create these unique pieces. Can you tell us more about that?
Maureen Bryan: Yes, we have a robot! It was born out of the problem of polishing for 8 hours a day. We soon realised that people were in fact at risk of getting repetitive strain injuries, so we thought about how we could best to alleviate that. Hence the use of the robot. The machine we use was made in Germany and we had it commissioned especially for us. We are not using machinery to create, but rather to lighten the load and purely save people’s bodies.

Photograph by Maryam Eisler

Maryam Eisler: It’s so refreshing to see that you still start a piece by hand, in quite an old school kind of way, that you first draw it and turn the drawing into a hand-made maquette, contrary to many other designers who solely use computer programs to materialise their design vision.
Maureen Bryan: That’s always how we start because we can relate to it better. It’s also a handy way of sending it onto the manufacturer. We don’t think through the computer but rather by holding a pencil in hand.

Read more: Pioneering Artist Michael Craig Martin on Colour & Style

Maryam Eisler: How important is the space in which you work?
Don McCollin: We get a lot of inspiration just by being in the workshop and playing with things and little ideas.

Maureen Bryan: In a world where there is a lot of ugliness, we have a strong ethos in the workplace, a sanctuary where people are kind to each other. We have a really nice team and we make our work environment as pleasant as possible with a good, positive vibe. I would like to think that this is a place where we can escape from [the world]. It helps your head a lot actually, and the team does make it work. I also think this is the best team we’ve ever had. They’ve all been with us for years.

Photograph by Maryam Eisler

Maryam Eisler: Why do you think British designers do better outside the UK than they do within the country?
Maureen Bryan: I really don’t know what the explanation to that is. Maybe people are not so educated in design here in the UK. You see people here are very keen to build an architectural statement but then they furnish it in a bog-standard kind of way. I think it’s education, but also wealth in the UK is associated with tradition. Our biggest market is actually America!

Maryam Eisler: What is your dream for the future ?
Maureen Bryan: What we both want to do is to have more space to create more pieces and to have more time to design in a more hands on kind of way, with less time spent on management.

Find out more: mccollinbryan.com

Photograph by Jennifer Sosa

As Christmas fast approaches, Los Angeles-based chef and entrepreneur Olivia Muniak shares her tips on curating a successful festive party for family and friends

For me, the holiday season revolves around dreaming up new and exciting menus that reinvent classic favourites with seasonal ingredients and unexpected flavours. Admittedly, hosting is in my job description, but I take the same pleasure in putting on a magical evening for my friends as I do in designing an event for clients. Below, are a few tricks I’ve learnt over the years to reduce stress and ensure success.

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1. Atmosphere & Music

Curating a successful event in your home is about all achieving the perfect balance of food, drink, atmosphere and music. Personally, I like to use lots of unscented candles dotted around the house and assembled on the dining table. It’s a quick and easy way to create a warm, magical atmosphere.

In terms of music, I usually prepare playlist of my favourite artists such as Cesaria Evora, Amanz, Buena Vista Social Club and Rhye. Random pop or rock songs playing from your Spotify “like” list can make for a bumpy night.

Right now, I can’t stop listening to… Orchestra Baobab.

Olivia mixing cocktails in her home. Photograph by Jennifer Sosa

2. Aperitivo Hour

Building in time to greet your guests with cocktails is the warmest way to welcome someone into your home. I find that if you can allow time to enjoy conversation and a drink with friends, it sets the tone for a more fun and relaxed evening. Having a large batch of cocktails pre-mixed so that you can pour the liquid over ice makes your job as bartender even easier.

Try this cocktail… Bianco (White) Negroni 

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

3. Wine & Food Pairings

Even the simplest wine pairing can really elevate an event. While some guests or family members might prefer stick to their preference of white or red, try offering different varieties of grapes that enhance the flavours of your dish. It might sound obvious, but I find the best place to start is often the local wine shop. It can be really helpful to get some expert advice based both on what you’re cooking and the kind of atmosphere you’d like to create.

This Christmas I’ll be drinking… a Barolo in Tuscany.

Photograph by Jennifer Sosa

4. Approaching Cooking Like a Pro

People always ask how I make cooking and entertaining look and feel so easy, my answer is always prep! I begin the shopping and the cooking days before the party so that when it comes to the evening, I get to actually enjoy the event.

I start by reading the recipe through a few times to make sure I’m not missing any specific produce or complicated processes – you don’t want your guests arriving just after you’ve discovered the main dish needs 3hrs in the oven. Then, I prepare my mis-en-place (a French culinary term that refers to a chef’s “set” station) so that I have each ingredient pre-measured and ready at my fingertips.

Read more: Prince Robert de Luxembourg on Art & Fine Wine

There are often things that can be done the morning of the event, or even the day before, which will, again, save you time and stress when your guests arrive. Vegetables, for example, can often be precooked and a salad (undressed) can be ready in the fridge. Personally, I like to make the dessert a day or two prior to the party.

I also highly recommend trying to stay on top of your washing up during the cooking process – having an empty dishwasher is a lifesaver for that late-night clean up. Or else, opt for a glamorous approach (it’s Christmas, after all) and hire someone to help out with serving food, pouring wine and clearing away dishes.

The most thumbed cookbook in my kitchen… Gjelina: Cooking from Venice, California by Travis Lett

Photograph by Jennifer Sosa

5. Decor

I’m a collector by nature. Over the years, I have amassed all sorts of dishes, serving platters,  vintage glassware and eclectic trinkets. Personally, I think life’s too short to be precious about Grandma’s china, but if you have a slim collection at home, there are numerous rental companies from which you can source beautiful dishes, glassware and flatware (and most let you return it dirty).

Outside of the necessary items on the table, I like to add small vases with delicate florals, or larger clusters of sparse branches arranged in clear vases so guests can still see each other across the table. A simple, dark velvet ribbon tied around a napkin is a quick way to add texture, colour and sensuality to a table.

My favourite homeware shop… Il Buco Vita in New York City.

Olivia Muniak is the founder of La Cura, a Los Angeles-based catering and events company. For more information, visit: thisislacura.com

Dolphin Square, Dolphin House

Justin Travlos is Global Head of Responsible Investment at AXA IM Alts. His management of a diverse investment portfolio is governed by one underlying principle: all decisions are made in the context of understanding where risk is – from a sustainability standpoint. Here, Travlos speaks to Samantha Welsh about the growing importance of proptech, and why sustainable strategy should not be an exercise in cherry-picking ‘green’ assets but embedded across the entire portfolio

Justin Travlos

LUX: You have a track record in driving successful sustainability strategies. Where did this interest come from?
Justin Travlos: Sustainability has long been a personal interest, but it first intersected in a professional capacity in 2007, when I became the head of sustainability for the commercial property business at an Australian real estate investment trust. I worked with a brilliant team to create the foundations of a strategy that was both sustainable and able deliver returns, and is still relevant and performing today. That balance is fundamental. I’ve always seen myself at the nexus of real estate development and sustainability, and the opportunity that brings to make places more appropriate both for people and for the planet.

LUX: Where has AXA been particularly successful in managing buildings to sustainability targets?
Justin Travlos: Asset regeneration always provides a canvas to enable change, and scale helps overcome some of the complexity often associated with these projects. While meeting the latest sustainability credentials is much less complex in new builds, they often raise questions around embodied carbon. Ultimately, it is equally, if not more, important to regenerate existing assets: poor performance of existing stock is a key area of focus for government and regulators when addressing climate change, and thus a key area of transitional risk (and opportunity) for us as real estate investors. Moreover, investing across a diversified, global portfolio allows us to benefit from a number of emerging synergies.

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LUX: AXA IM Alts is Europe’s biggest real estate manager by Assets Under Management (AUM). How do you evolve a best governance strategy for a diverse portfolio of this size?
Justin Travlos: Integration into our investment processes is the key to governance: it was important that our strategy didn’t just have one best-in-class green fund or asset to showcase, but was embedded across our entire portfolio and integral to every investment decision. We look at a broader sweep of both financial and non-financial considerations, and so long as those decisions are made in the context of understanding where risk is, from a sustainability perspective, then that’s the right conversation to have.

While our strategy will continue to evolve, particularly in terms of implementation, it is formed around three the key pillars of decarbonisation, resilience and building tomorrow. Decarbonisation is about reducing our carbon footprint in line with the Paris Agreement targets. Resilience is about understanding the physical and transitional risks of climate change on our assets. And looking at both of these creates insights that inform the types of assets that we regenerate and build – shaping our investments to become building blocks for the future.

22, Bishopsgate. Photo by Edmund Sumner

LUX: Is there variation in how regions adopt responsible investment strategies?
Justin Travlos: Yes, due to the different regulations and market practice in place across the globe. In the EU, businesses are now required to embed sustainability risk management into the investment process. AXA is now reaping the rewards from the groundwork that we laid down a long time ago. But our alignment to the regulatory environment in Europe will be subtly different to what is required in America or AsiaPac. The funds that we have in Australia, for example, are much further ahead in their adoption of ESG performance indicators because the market and its regulations governing environmental management and reporting are significantly advanced.

These strategies are also underpinned by data, much of which is still imperfect. As the dataset grows and visibility improves – and advances in technology will play a big part in this – the ability to finetune performance to reset those decarbonisation benchmarks to specific asset classes in specific countries will become invaluable. It will not only provide very clear targets for asset management teams but will provide a comparative global benchmark for measuring performance, something absent from most current sustainability reporting.

Read more: Standard Chartered’s Eugenia Koh on Next Gen Investors

LUX: To what extent are asset managers using proptech now?
Justin Travlos: There’s always been a rule of thumb that if you pick up an asset that’s just been managed in the day-to-day, you can almost guarantee a 20 to 30% improvement in energy efficiency, simply by utilising the latest technology – which is obviously a win-win because it doesn’t require huge amounts of cap expenditure but does generate savings and financial returns.

Ultimately, some building infrastructure and systems may still need an entire overhaul, but proptech will be integral to assets’ value proposition going forwards, as owners and occupiers ascribe greater value to the provision of these data points to achieve their ESG ambitions.

Forestry Investment, Australia

LUX: Are we collectively doing enough?
Justin Travlos: Looking forwards, I take some comfort from the fact that in just 18 months, humanity has produced not one but several vaccines to bring a population of 7 billion people back from a global pandemic. This shows what can be achieved and I hope against a backdrop of increasing evidence of the impact that climate change is having on the world that that the same sort of ingenuity, thinking and collective effort will prevail. Ultimately, the actions that we take now will have a fundamental impact on where we end up by the end of the century, which is why the urgency of this topic has become central to our approach to sustainability and responsible investment.

LUX: What advice do you have for next gen clients running a lens over family office real estate portfolios?
Justin Travlos: From an ESG perspective, there are three key questions. First, can profitability of the investment be decoupled from carbon? Second, is a change in physical risk going to limit either the operating days of the asset, or the available capital to acquire the asset at the end of the investment horizon? And third, how does the asset support its occupants?

Justin Travlos is Global Head of Responsible Investment at AXA Investment Managers Alts

Chef Alain Ducasse, who currently holds twenty-one Michelin stars, has teamed up with Dom Pérignon and renowned chefs Albert Adrià (one Michelin star), Romain Meder (3 Michelin stars) and Jessica Préalpato to create ADMO, an exclusive dining experience on a roof terrace overlooking the Eiffel Tower. Candice Tucker travelled to Paris to find out more

ADMO bills itself as an ephemeral restaurant experience due to the fact that it’s open for 100 days only, but it doesn’t really seem the right way to describe a fourteen course, multi-sensory menu, created by five of the world’s best chefs and paired with Dom Pérignon Rosé 2008. Decadent is the word that comes to mind and perhaps, a touch hedonistic.

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Situated on the top floor of Musée du Quai Branly, the restaurant has a prime position overlooking the Eiffel Tower, which as the clock strikes the hour, is illuminated by brilliant lights. Cynics might pass it off as naff, but it feels suitably sparkly for a champagne feast.

The fusion of philosophy and food makes ADMO stand out from other gastronomic experiences. The menu specifically excluded meat products, to emphasise its green credentials. Being presented in a minimalist fashion, it further highlighted the importance for people to appreciate food for its refined quality whilst fully satisfying one’s appetite.

Read more: Standard Chartered’s Eugenia Koh on Next Gen Investors

The small tables and dim lighting, made the grand culinary experience, warm and intimate. Between each course, there was lively conversation amongst the journalists, food and champagne connoisseurs, but as each course was placed in front of the guests, the room fell silent. Every plate – notably, the crispy pastry sheet with red mullet and fried scales – provided an explosion of perfectly balanced, fresh flavours that were enhanced by the champagne pairing.

© François Goizé

Speaking at the launch event, Alain Ducasse explained how each dish at ADMO aims to encapsulate a philosophy of sustainability (all ingredients are locally sourced except the caviar which comes from the north of Shanghai), suggesting that this will, increasingly, define the future of fine dining. “There will be more of these types of projects. There will be more attention on better food, thinking more about the food we can eat and food that is better for the planet,” he said. “I believe this is the roadmap [for the future] and it will not end.”

Vincent Chaperon, Dom Pérignon’s Chef de Cave, also commented on the importance of taking a sustainable approach: “I believe that if we focus on [sustainability], more people will embrace this approach. More doesn’t mean quantitative, it’s qualitative. This kind of project encourages people to recognise a new art of living [that centres around] our relationship with nature. We have to preserve and not only interact.”

If ADMO is a taste of what the future will bring, we’re very much on board.

ADMO is open from Tuesday to Sunday for lunch and dinner at Les Ombres au Musée du quai Branly. For more information, visit: admo.lesombres-restaurant.com

© Monte-Carlo Société des Bains de Mer

In the second part of our luxury travel views column from the Autumn 2021 issue, LUX’s Editor-in-Chief Darius Sanai discovers a new side to Monaco at the Monte-Carlo Beach Hotel

Just getting to the Monte-Carlo Beach Hotel puts you in the mood. Unlike some of the grand hotels of the principality, the Beach is what it says it is. We drove past the entrance to a huge outdoor swimming pool and waterfront water-sports complex, and then down a narrow driveway to the entrance of this pink stone mini-Palace.

The vibe is deliberately casual, boutique glamour rather than formality. A low-key reception area, then up to the room with a balcony overlooking the terrace, swimming pool and sea, looking back out at Monaco in the mountains above. It was only from here (or from the yacht) that you recognise the vertiginous nature of the place: Monaco is built basically at the bottom of the cliff face, the land rising relentlessly upwards to become the Alps.

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It’s a few steps from the front entrance to the swimming pool and beach area. The pool is huge, and you have the choice of sunning yourself there, in a cabana or on the pier – when we were there, this seemed a little too adventurous as it was being washed by some rather lively waves.

The Monte-Carlo Beach’s La Vigie Lounge and Restaurant. © Monte-Carlo Société des Bains de Mer

We had a pleasant aperitif on the seafront terrace and were then whisked off to Yannick Alléno at the Hôtel Hermitage in town for dinner. A new addition to the Monaco dining scene, this restaurant is overseen by superchef Alléno and occupies a crescent-shaped, sea-facing terrace amid the grandeur of the Hôtel Hermitage. It is a quite spectacular gastronomic experience: Alléno was inspired by the years he spent in Japan, and the precision, focus, perfection and lightness of the cuisine – without being in any way ‘nouvelle’ and shrunken – is mind-blowing. The best new restaurant of 2021?

Breakfast and lunch the next day were both taken at the hotel, by the sea at the beach – it is the one place in Monaco where you feel you are away from the admittedly glamorous hustle of the town. The lunch terrace restaurant, Elsa, is noted for being the first 100 per cent organic restaurant to receive a Michelin star; wild-caught fish play a starring role here and my local white fish, in a vegetable broth, was just what was required ahead of an afternoon’s swimming in the pool, accompanied by a reviving glass or two of Deutz.

Book your stay: montecarlosbm.com

This article was originally published in the Autumn 2021 issue.

Eugenia Koh, Head of impact and sustainable investing at Standard Chartered

Eugenia Koh believes that while philanthropic support is essential, capital markets must help to close the funding gap for global sustainable development goals. Here, Koh, head of impact and sustainable investing at Standard Chartered, speaks to Samantha Welsh about current trends among next gen investors and how they are influencing their families to become more sustainable

LUX: Which sectors are your UHNW next generation clients eyeing post-pandemic?
Eugenia Koh: We find that they are particularly passionate about entrepreneurship and sustainable development. We conducted a thought leadership survey at the height of the pandemic, which found that clean water and sanitation, good health and wellbeing, climate action, quality education, and zero hunger were among the causes of highest importance to investors.

LUX: Does this growing preoccupation with ESG have any intergenerational repercussions?
Eugenia Koh: There are increasing demands on the next generation of clients globally as they navigate a wide range of fast-moving challenges which may be very different from those that their parents face. The resilience and increased interest in sustainable investment during the pandemic has helped some next gen investors with educating their families on the topic. One of them had his sustainable portfolio outperform the family’s main portfolio, and this has changed the family’s view to be more receptive to exploring sustainable investments and how they can help with better risk management and performance.

LUX: How easy is it to measure the performance of ESG investments?
Eugenia Koh: It is important not to be overly simplistic in using performance as a marketing tool as not all ESG investments outperform, depending on the strategy used and depth of ESG integration. When linking to performance, the concept of materiality is key. Not all ESG factors are equal and material: ‘E’, ‘S’ and ‘G’ factors differ based on industries. Take, for instance, airlines: their material ESG factors would include fuel efficiency, carbon emissions and health and safety practices, which would have a bigger impact on bottom line and consumer expectations as compared with such issues as child labour. Material ESG factors have a potential impact on financial performance, either in influencing value creation or destruction.

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LUX: How do you foster a sense of community among participants of the Future Global Leaders Programme?
Eugenia Koh: We keep the experience intimate by keeping the number of participants small, but diverse. Our next gen clients come from a variety of backgrounds: some are entrepreneurs themselves; others are involved in their family business, or are doing something completely different. They appreciate the opportunity to discuss topics that are close to their hearts.

LUX: What’s your go-to advice for next gen investors?
Eugenia Koh: To be clear on their objectives. Just as investors demand rigour in their traditional investments to achieve their financial objectives, they should likewise be clear about their impact objectives and the best approaches to achieve this.

LUX: How can investors avoid fraud, greenwashing and Covid-washing?
Eugenia Koh: Investors should ask their advisers about the ESG strategies of the companies into which they are investing, as well as learning about how ESG factors are integrated into the fund manager’s selection process. At Standard Chartered, due diligence is an important part of what we do. We have launched ESG Select, our in-house review framework, to better support clients in their selection of high quality ESG products with a strong performance track record.

Read more: Deloitte’s Jessica Hodges on Sustainable Investing 

LUX: Tell us about Standard Chartered’s sustainable development goals.
Eugenia Koh: We contribute to raising standards across the world and support the fight against climate change while playing our part in reducing poverty and global inequality. For instance, we are contributing to climate action and clean affordable energy with our commitment to provide project financing services for $40 billion of infrastructure projects that promote sustainable development. We are also looking to raise $75 million for our foundation, Futuremakers, in order to reach 50,000 young people, micro and small businesses to reduce inequalities.

Angkor Wat, Cambodia

LUX: What drives your own passion for sustainable, responsible, impact investing?
Eugenia Koh: I remember going to Cambodia as a youth with my church group to engage and help the community there and being struck by the poverty, especially in one of our trips to a garbage slum. My friends and I decided to make an annual trip there to continue engagement with the youths we had befriended, and one of my friends eventually moved to set up a social enterprise in Cambodia. That was my first experience with impact investing and leveraging business to uplift families out of poverty.

My [subsequent] experience in grant-making and CSR has helped me see that while philanthropic support is essential, there is also a role that capital markets and finance can play in sustainable development. There remains a significant funding gap in achieving the [UN] Sustainable Development Goals — the annual financing gap to achieve the SDGs by 2030 currently sits at $2.5 trillion — and we need the private sector and finance to play a role in contributing towards this. I am excited when I come across clients and investors who are passionate about contributing towards this, and to be able to help them in their journey.

Eugenia Koh is Head of Sustainable and Impact Investing at Standard Chartered Bank