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

The Club Dauphin pool at the Grand-Hotel

In the first of our four part luxury travel views column from our Autumn 2021 issue, LUX Editor-in-Chief Darius Sanai experiences a taste of old world glamour at Four Seasons Grand-Hôtel du Cap-Ferrat

Cicadas trilling down a long avenue lined with high walls, behind which some of the world’s most expensive real estate lurks. Glimpses of the Mediterranean through the hedges. A security-guarded gateway, a short driveway and doormen opening doors on either side at the entrance to a Belle Époque mansion.

Arrival at the Four Seasons Grand-Hôtel du Cap-Ferrat could barely be more grand. You are in an unchanged south of France of 1920s flapper legend. Not here the camper vans, beach-going day-trippers and crowds of normal people that besmirch even the swankiest Monaco boulevard. Cap Ferrat is a place where the rich can be rich, and the Grand is the sea-facing jewel at its tip. High ceilings, light marble, big windows: first impressions are of a Parisian palace hotel transplanted and reworked to suit the setting, rather than anything like a resort. But wait, that comes later.

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Our room was light, a bedroom connecting through sliding doors to a living area with a taupe sofa, white and light grey colourways everywhere. Open the window (there was no balcony) and lavender and thyme and the sound of the cicadas pour in in one sensual flow.

The gardens and Le Cap. Image by Darius Sanai

Down through the palatial lobby, out of the door at the top of the staircase at the back of the building (or is at the front?), and down towards the gardens, it’s as if you are descending through layers of formality into total chillout.

Read more: Art Basel Miami Beach is Back and it’s Buzzing

The terrace of Le Cap restaurant is on the first layer of terrace, shaded by mature trees. Next layer down is a casual dining terrace and the bar where a rather good jazz band played under the canopy of the trees every evening. Carry on walking across the big lawn of the hotel and you can take various paths into a labyrinth of flower beds and trees – quite an indulgence in the place with the highest residential real estate price in the world. The gardens are on a gentle slope down towards the sea, and at night the combination of starlight, the bouquet from the plants and the sound of the jazz is intoxicating, even without a champagne cocktail.

The entrance hall

Directly across a little road from outside the back gate at the bottom of the garden is the entrance to Club Dauphin, the hotel’s beach club (local people can also join as members). You can take a funicular down the steep hillside that descends towards the sea, or walk down along the flower-lined path. You’re then presented with the club restaurant and swimming pool, at the very tip of the Cap. It seems that there is sea for 270 degrees around you, and what isn’t sea is either swimming pool, or a terrace where very expensive people are nibbling tiny amounts of vibrant food and being served out of magnums of Provençal rosé wine.

Here, the palace hotel you are staying in feels a long way away, and you have reached the pinnacle of informal chic as epitomised by somewhere like St Bart’s – or indeed, the Grand-Hôtel du Cap-Ferrat.

Lunch at Club Dauphin and dinner at Le Cap seems to be standard practice at the Grand – preceded in our case by an aperitif next to the jazz band, our bench seat offering a gorgeous view across the lawns and trees to the sea. The food is a kind of ultra-superior Provençal: razor clams and cockles with seaweed and fennel bavaroise; grilled asparagus in thyme jelly; and a particular favourite, grilled red mullet with olive tapenade, tomato hearts and basil, fish and tomato reduction. The only thing that was missing was David Niven chatting to Audrey Hepburn at the next table.

Book your stay: fourseasons.com/capferrat

This article was originally published in the Autumn 2021 issue. 

Chelsea Barracks, with spatial layout and interior design by Elicyon. Photo Michael Sinclair

An architect by training and an interior designer by trade, Charu Gandhi cites her multicultural upbringing as the source of her fascination with people and how they occupy space. To translate her design language to others, she founded design studio Elicyon in 2014, and has since completed super prime luxury residential projects in New York, Dubai, Shanghai, and London – to name just a few. Here, Gandhi speaks to LUX Contributing Editor, Samantha Welsh, about the importance of finding fluidity between disciplines and cultures, and her optimism about the future of women in design

Charu Gandhi

1. What are Elicyon’s chief design principles?

At Elicyon, we are led both by how space is used and a fine attention to detail. We also focus on how those can be executed differently for each project. Often you can walk into a project and know how the home would work best for the client. I have a strong spatial understanding that helps to guide the design scheme. What we aim to do is to make our clients fall in love with design, and embark on the journey of learning about materiality and craftsmanship when they work with us.

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2. What questions do you ask when considering the design brief for a super prime residential scheme?

We have an extensive briefing process that’s about getting to know the client. We ask how each room is used differently by family members and at what times of the day. Designing a home is often about evoking a feeling: I always ask clients to think about a time they really enjoyed themselves – be it an experience in a restaurant or a holiday destination – and what they loved about it. They might remember that they loved the linen on a hotel bed, the details of a ceiling in their favourite restaurant or even the size of the bedside tables in a hotel room.

41-43 Beaufort Gardens, designed by Elicyon. Photo Michael Sinclair

3. How does Elicyon deliver projects globally?

We’ve delivered projects in every continent, and what it really comes down to is great planning. It’s paramount to understand the logistics of a project thoroughly, and often working with a strong local team has proved invaluable. They act as our eyes and ears on the ground. For each new location, we do a recce to understand the particularities, culture and to be familiar with the buildability (seeing what is physically possible to build locally).

Having worked internationally for many years, we have built up a solid black book of partners that we can rely on, from transport companies to logistics managers, the majority of which are based in London but have global reach.

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4. How did this cross-cultural appeal come about?

Having an international client base naturally means we are asked to help on projects in many different continents – we might start with their London home, and end up designing their homes in Dubai, LA and Shanghai too. It’s a reflection of how multicultural London is as a design centre.

Ultimately, however, it comes down to my upbringing. I have travelled extensively since an early age and was educated at an international school, so my school friends live in all parts of the world. I also have an innate interest in people and how they live and occupy spaces.

Chelsea Barracks, with spatial layout and interior design by Elicyon. Photo Michael Sinclair

5. What during your training most inspired your vision as an architect and designer?

My first year at the Architectural Association was my most formative year, led by a brilliant teacher, Julia Wood, who passed away too young some years after. She turned the notion of architecture on its head – and we explored concepts through dance, through sculpture and the human body, and she introduced us to a myriad of conceptual artists of the time. I remember being particularly struck by Rachel Whiteread’s work.

6. What do you think has changed for women in architecture in recent years?

There is no better time to be a woman in architecture: the playing field, from a London-centric view, is full of great women designers, thanks to groundbreakers like Zaha Hadid who cracked the mould. Nevertheless, there are worrying statistics of those who graduate as architects versus those still in the role 10 years on. In my mind, the UK needs to fix its childcare challenges, and only then will the female-led architecture and design ecosystem thrive.

I know the Royal Institute of British Architects (RIBA) and Architects Registration Board (ARB) have task forces working on it, and that I too have a responsibility as a leader to grow and build female teams.  I am proud to say that at Elicyon our senior leadership team is entirely female. As an industry, however, we must endeavour to always do better.

Find out more: Elicyon.com