© 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.

Read more: Molori Designs Founder Kirk Lazarus on Ultra Bespoke Luxury

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

© The artist, courtesy of the artist and Gagosian. Photo Mike Bruce.

In the mid 1960s, Michael Craig Martin emerged as a key figure in early British conceptual art, later becoming the teacher of many of the YBAs such as Damien Hirst and Sarah Lucas. Today, he is one of the world’s most prominent artists, known for his brightly coloured paintings and sculptures of everyday objects. Millie Walton speaks with him about colour, style and listening to his own advice

1. By focusing on everyday objects, are you searching for a kind of universality?

Everyday objects do seem to me to offer a path to understanding the universal. By making drawings of as many objects as I can, one by one, I have tried to implicitly account for everything. I have discounted all the hierarchies by which we normally categorise things: size, use, materials, social importance, aesthetic quality, monetary value, moral worth, etc. I draw everything the same way, each with equal care and attention – a democracy of images.

2. Do you recreate the objects from memory or are they drawn from life?

I never draw from memory, only from the observation of an individual object.

3. Are the objects you use as subjects artworks in themselves?

With a few exceptions, such as Duchamp’s urinal or Magritte’s pipe, the objects I draw are not artworks. My drawings of them are.

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4. You’ve said before that incorporating colour into your work was a breakthrough moment. How so?

I discovered that I could unsettle the familiarity of the drawing of an object by introducing non-naturalistic, wayward, intense colour. The drawing is logical, general, bland, familiar; the colour instinctive, specific, vivid, unexpected. This confrontation gave my work a new visual impact and emotional intensity.

5. In aiming for what you’ve termed ‘no style’, you have created a style that is now widely recognised as yours. Has this changed your attitude towards what style means?

Yes. I used to look on style as a kind of self-conscious ‘arty’ signature. Now, I see that it can be the manifestation of the essential characteristics of one’s visual language.

6. Did teaching art at Goldsmiths College affect your own practice?

Yes, because, at best, I saw my teaching as virtually an extension of my practice. One thing I discovered was to always listen to the advice I was giving my students, as it was often the advice I wished to hear myself, but couldn’t do so directly.

Michael Craig Martin, Oxford Street Installation. © The artist, courtesy of the artist and Gagosian. Photo Mike Bruce.

7. How do you decide what to create next?

My work is a continuum. I work on many things at the same time. One thing leads to another. Work comes from work.

8. Is it important for you to be surrounded by your own artworks?

It’s not important, but I am happy, these days, to have some works hanging in my own apartment. In general, I quickly lose interest in a work I’ve just completed because I’m working on something else. I don’t like having much finished work in the studio, but I often do. Unexpectedly coming across something you did years ago, and have forgotten, can be very rewarding.

9. Are you interested in exploring more digital tools within your practice?

I have done quite a lot of digital work over the years, the first in 2000, I think. I develop all my work on a computer and what I do is well suited to digital productions. There are things one can do digitally involving change and movement that other mediums don’t allow.

Michael Craig Martin, Bulb (red), 2011 © The artist, courtesy of the artist and Gagosian. Photo Mike Bruce.

10. Do you create commissioned work?

I always consider commissions. Some I accept, some I don’t. It’s interesting to consider something you wouldn’t have thought of yourself.

11. What led you to transform your drawings into transparent sculptures?

Two-dimensional images normally need a material ‘ground’ (paper, canvas, screen and so on) to exist at all. Making my drawings out of steel means they can be self-supporting and therefore dispense with the need for a ‘ground’, thus appearing transparent.

12. Are your works intended to provoke a particular reaction in the viewer?

I try to make work that catches the eye and the imagination of as many viewers as possible. I never seek a particular reaction, but try to provide the provocation for individual, personal speculation.

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

Galerie Nagel Draxler’s booth at Art Basel Miami Beach

After the scaled-back events of last year, Art Basel is back and it’s bigger than ever with 250 galleries from over 36 countries. Our columnist Sophie Neundorf reports from Miami

Sophie Neuendorf

The vibe was fantastic, full of joie de vivre, as collectors descended on Miami to celebrate the comeback of the Art Basel Miami Beach. On the opening day, there were many joyful reunions between friends, collectors, and gallerists seen and heard around the booths and despite timed entry due to Covid regulations, most of the stellar works sold out instantly.

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According to collectors, advisers and dealers, sales are similarly soaring at neighbouring fairs Nada and Untitled. It’s not so much a case of if to buy, but how to get there first. Who will get take home a much coveted painting by Amoako Boafo? Or the Genesis Tramaine being sold at Almine Rech? Or the Flora Yukhnovich work at Victoria Miro? It’s quite the dilemma for galleries that want to reward loyal clients, place works with museums, and grow new audiences at the same time, all while steering clear of speculators, but c’est la vie!

Saint Laurent Rive Droite’s beachfront gallery features an exhibition of works by an exhibition of works by Japanese artist Sho Shibuya

NFTs are, unsurprisingly, taking centre stage with multiple galleries showcasing digital offerings. Galerie Nagel Draxler is devoting much of its booth to a show-stopping group installation of tokenised multimedia works led by artist and maverick collector Kenny Schachter while a few aisles over, Pace is taking a somewhat softer approach with its presentation of Block Universe (2021), a collaborative work by Drift and D.J./crypto-artist Don Diablo. This year, there’s also a booth and three-day series of live talks dedicated to Tezos, an open-source, energy-efficient blockchain network where scores of recognised media artists have tokenised their works over the years. The centrepiece of the booth is a multiscreen installation that allows visitors to add their algorithmically distorted self-portrait to works by generative artist Mario Klingemann (AKA Quasimondo), then mint the results as NFTs on the Tezos blockchain.

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

Among the many impressive events taking place this weekend, my highlight is Saint Laurent Rive Droite’s ephemeral gallery in the centre of the city (until December 5, 2021). Inside the space—a pink-and-red cube set on the beach, practically glowing against the backdrop of ocean and sky—there’s an exhibition of works by Japanese artist Sho Shibuya, commissioned by Saint Laurent’s visionary Creative Director Anthony Vaccarello. Shibuya has recently gained widespread attention for his series of daily paintings, Sunrise from a Small Window, created in his Brooklyn apartment over the last 22 months. Using the front page of The New York Times as a canvas, the artist has been ritualistically painting over the front-page stories with the hues of each morning’s sunrise, covering the often down-trodden news with an ever-changing symbol of revival and hope. It’s well worth seeing.

Michael Kagan, APOLLO 2021 (2021). Photo courtesy of the artist and Half Gallery.

Meanwhile, one of the stranger sights in Miami this week is an Apollo space capsule floating in Biscayne Bay as if just returned home from a lunar voyage. This isn’t, however, some wormhole into the heyday of the U.S. Space program, but an art project from artist Michael Kagan and New York’s Half Gallery. It’s no coincidence that Yusaku Maezawa, the Japanese billionaire art collector who promised to take a group of artists with him to the moon aboard one of Elon Musk’s SpaceX rockets, is one of the artist’s collectors. Kagan is clearly angling for a seat.

And then, of course, there are the parties. White Cube’s bash at Soho Beach House, which featured a performance from Sister Sledge and a lot of dancing, is the most talked about so far, but with a few days to go, there’s plenty of more time for partying.

To me, it feels very nearly like the good old days, but with the added edge of NFTs and groups of eager millennial collectors (musician Joe Jonas and Bachelor contestant Kit Keenan have been spotted milling around) with a healthy appetite for emerging stars and an even larger one for big name artists and galleries.

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

Todd Gray, Sumptuous Memories of Plundering Kings, 2021. Courtesy the artist and David Lewis.

Magali Arriola

As Art Basel Miami Beach returns for its first in-person iteration since 2019 this week, so does Meridians, the only large-scale project space at the fair. Showcasing 16 larger-than-life works by a roster of international artists which challenge class, race, and power structures, Meridians reimagines the constraints of the traditional art fair format. Ahead of its opening, curator Magalí Arriola (also Director of Museo Tamayo, Mexico City) speaks to LUX about her curation process and how large-scale art is as much a question of temporality as spatiality

1. Tell us about your curation process for Meridians. How did you go about selecting the artists and artworks?

There was a long process of selection behind Meridians. As its curator, I did a lot of reaching out to the galleries and then worked closely with a committee to do the final selection. This year, however, felt a little different from 2019 since, because of the lockdown, many artists didn’t meet the conditions to produce large-scale works.

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2. What new opportunity does Meridians seek to present artists?

Just like the 2019 iteration, this second instalment provides galleries with a unique opportunity to present ambitious art projects that go beyond the limits of the conventional art fair layout.

Jacqueline de Jong, De achterkant van het bestaan (The backside of existence, 1992). Courtesy Pippy Houldsworth Gallery

3. How do you think experiencing art through a large-scale format affects our relationship with the pieces?

I don’t think scale changes the way we experience art, nor the quality of that experience. I’d like to think that what a sector such as Meridians does is allow us to revisit the notion of scale not only in terms of space but, as some of the works we’re presenting are time-based pieces like video and performance, also in terms of time.

Read more: Legendary Designer Christian Louboutin on Passion & Solidarity

4. Meridians combines the work of emerging and established artists. Why is this hybridity important to you?

Forming a dialogue between emerging and established artists is something that has always been important to me, as it demonstrates that many of the challenges we’re facing today are old challenges that we haven’t resolved. This intergenerational crisscrossing points to the different processes and strategies used by artists for an examination of contemporary thought and experience, as they engage many of the concerns that impact our society and undoubtedly contribute to reassess our current realities.

Yinka Shonibare CBE, Moving Up, 2021 © Yinka Shonibare CBE 2021. Courtesy the artist and James Cohan, New York. Photo by Stephen White & Co.

5. Many of the works in Meridians challenge class, race, and power structures. Which single piece challenged you most and why?

Maxwell Alexandre’s work stands out as a piece that reflects on racial representation and social conflict. He is presenting a new painting from ‘Pardo é Papel’, a series that dates back to 2017. It originates from a group of self-portraits that the artist created on brown kraft paper, referencing its early use by Brazil’s administration to generate birth certificates and identity cards for Black people as a way to veil their skin colour. In his practice, Alexandre depicts daily life in Rio de Janeiro’s Rocinha, one of the largest favelas in Brazil, seeking to empower his country’s population and resist discrimination.

6. This December marks the first in-person edition of Art Basel Miami Beach since 2019. In what ways do you expect the fair to have evolved since then?

I don’t expect Art Basel Miami Beach to have evolved; I think it is we, as people, who will hopefully have changed, having had the opportunity these whole two years to reflect on many of the social challenges that the globalised world faced during 2020. This, I hope, might have led us to develop a larger and stronger sense of community.

Find out more: artbasel.com

Legendary shoe designer Christian Louboutin. Copyright and courtesy Christian Louboutin

Superstar shoe designer Christian Louboutin, whose signature red-soled pumps with vertiginous stiletto heels are the de facto shows for glamourwear, has dominated luxury footwear since the nineties. Harriet Quick speaks to him about his long career, his charity work with actor Idris Elba, Kate Moss and sailing down the Nile

Good ideas take time to mature and, when entwined with hope and empathy, they can flourish. Such was the situation when Christian Louboutin picked up the phone to his friend, the actor Idris Elba, after the tragic murder of George Floyd in May 2020. Both were in deep shock, amplified by the isolation of lockdown, and wanted to do something, to take action. Louboutin, remembering his friend enjoyed sketching designs for shoes, proposed a philanthropic venture: Walk a Mile in My Shoes. In essence, a capsule collection of shoes with 100 per cent of the profits going to benefit charities fighting oppression and advancing racial justice, equal rights and access.

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Elba immediately said yes and proposed the idea to his wife Sabrina on her birthday. She was over the moon. “Not to act, to remain silent was not an option – I knew this in my heart,” says Louboutin. “We decided that if there is a message – it has to be optimistic. I don’t want to emphasise the toughness of reality and we picked organisations that are proactive. We want to show that we can all do better and drive optimism,” says Louboutin.

The 1988SL high-top sneaker designed by Idris Elba from the Walk a Mile in My Shoes collection. Copyright and courtesy Christian Louboutin. Image by Julien Vallon

The friends got to work choosing designs for the collection, which was launched in June 2021. It includes the 1988SL sneaker designed by Idris, a suede calfskin pump with the Walk a Mile message embroidered in signature Louboutin red on the upper, and a birds-of-paradise print skate shoe and stiletto. The phrase was chosen by Elba and references Kim Abeles’s 2014 public artwork dedicated to Martin Luther King in Los Angeles. “I wanted to make sure the styles were already in my collection, as this is about giving money to people and not using funds for design and research. Sabrina really drove the charity side, choosing organisations that have a positive impact,” says Louboutin of the beneficiaries, including the Somali Hope Foundation, Purposeful in Sierra Leone, which supports marginalised young women, Gathering for Justice in the US founded by Harry Belafonte, the Be Rose International Foundation’s work in Sierra Leone, and Immediate Theatre in east London.

Read more: Emilie Pastor & Sybille Rochat on Nurturing Artistic Talent

The scale and scope of the initiative is impressive and inspiring. While charitable products often fall short on desirability, here is a collection that one would be proud to wear, as it is infused with the wit, optimism and elegance that is part of Louboutin’s DNA. The French Egyptian designer, now 58, has always been driven by passion coupled with a deep knowledge and expertise in his craft. Louboutin became fascinated with shoes in the mid-seventies. A visit to the Musée national des Arts d’Afrique et d’Oceanie on the Avenue Daumesnil in Paris was a turning point. It was there that he saw a sign from Africa forbidding women wearing stilettoes from entering a building for fear of damage to the wood flooring. Louboutin was enraptured by the poster image of a stiletto and set out to create designs that made women feel empowered and not embarrassed or compromised. “I could not believe the elegance of these shoes and became obsessed with them,” he remembers.

Small tote bag from the Walk a Mile in My Shoes collection. Copyright and courtesy Christian Louboutin.

With no formal training, Louboutin learned by sketching and by studying the craft until he was hired by Charles Jourdan and, later, the highly inventive shoe maestro, Roger Vivier. By 1991, Louboutin had opened his first store in the Galerie Véro-Dodat and went on to sell internationally, building fame and fortune around his bestselling black patent, red-soled stilettoes that rose to 120mm and showed off ‘toe cleavage’. Indeed, it was Louboutin who became one of the first superstar shoe designers building a brand that became associated with fetish and fantasy. He has been to court on numerous occasions to protect the trademark red sole that over the decades has been widely copied. To balance and dance gracefully on these leg-lengthening, needle-thin points was, and still is, considered the quintessence of chic, a triumph of style over the quotidian. Like Manolo Blahnik, Guiseppe Zanotti and Vivier, Louboutin excelled in making the shoe an object of wonder. “My wardrobe is brimming with Louboutins,” Kate Moss told Vogue in 2014. “The classic Pigalle stiletto in patent or matt-black leather is my go-to shoe. I have so many pairs that Christian designed a style with a sharper point and nail-thin heel which he named the So Kate.”

Louboutin’s reworked Double L sandal for the Oiseaux du Paradis capsule collection, launched in September 2021

As we all adopted Birkenstocks and trainers during 2020, it might not have been a great year for heels but it was a significant year for Louboutin. He spent much of it in his home in Portugal, blessed by the fact he could enjoy his garden and the company of his children. “There was a form of solidarity as everyone was in deep shit. Businesses were drowning and it was happening across the board. I understand that I could not get too pissed or angry if I had no control over the situation. Why beat your own head? I was not locked in a small apartment, and I took measure of the levels of comfort and privilege that surrounded me. I took the upside: there was no way to complain about my situation,” says Louboutin, who talks energetically and whose conversation is constantly punctuated with smiles and those inimitable French hand gestures and raised eyebrows. “It slowed my pace and that’s a good thing. I had more time to think and concentrate. I took it as a message, an opportunity to reformulate, and go into ideas, develop creativity. You realise nature is constantly replenishing – after three months the air was cleaner, the waters were clearer in Venice and Paris, and animals returned to the city. If we give nature a chance, it will recover much more quickly. We all experienced that reality,” he says of the learning.

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

Out of adversity, there come opportunities. Louboutin also had the chance to weigh up and analyse the future of his business, which encompasses sales through approximately 150 department stores in more than 35 countries, a beauty line that he launched with nail lacquer in 2014 (it is now licensed to Puig), men’s and women’s collections as well as accessories. A promising suitor came in the shape of Exor NV, the luxury group owned by the Agnelli family in Italy. In March, Louboutin sold 25 per cent of the business for €541m, a figure which gives a clear indication of the value and promise of the brand which has seen remarkable success in Greater China where there are six stores. Exor, which is chaired by chief executive John Elkann, also has investments in Ferrari, PartnerRe, Shang Xia and Juventus FC.

The Hot Chick pump and Fun Louis sneaker from the AW21 collection. Copyright and courtesy Christian Louboutin

“The best business partner is one that enhances your way of thinking. We will remain the same and no one wants to interfere with how we do things – we have the same team and now we have solid partners who are great thinkers. The Agnellis are a family of entrepreneurs and I respect that,” says Louboutin, who works alongside his business partner, Bruno Chambelland.

“In the next five years, we will ‘muscle’ digital. We already have a successful e-commerce [side of our business] but digital is a bigger world encompassing operations and logistics. And we will also be looking at sustainability but not as a trend. In these matters, because sustainability is a complex science, you need to practice precaution and responsibility and have the time to take the right measures. It’s not about jumping on the first idea – this is a serious issue, and you have to be accurate,” says Louboutin, taking a balanced approach to fashion’s hot topic.

The Loubishark Flat trainer from the AW20 collection. Copyright and courtesy Christian Louboutin

Louboutin has a fresh outlook. He also sees great potential in the gaming world and has created a dematerialised Loubishark sneaker with a Pop Art graphic shark-tooth-style sole for sites. “Gaming has an interesting aesthetic and there is a distinct visual language which I find so fascinating. Since I was a teenager, I have liked calligraphy and optics and this is like learning a new code,” he says. Take a tour of the brand’s Instagram feed and its website and you can see playful virtual and augmented realities in the LoubiFuture world. The retro-futuristic vibe is playful and dynamic, just like the vibrantly coloured collection. There was also the chance to immerse yourself in Louboutin’s imagination at ‘L’Exhibition(niste)’, a monograph show at the Palais de la Porte Dorée in Paris in 2020 where the designer’s sense of showmanship and theatre were celebrated.

Read more: Molori Designs Founder Kirk Lazarus on Ultra Bespoke Luxury

His own sense of luxury is more shaped by the real world. He owns a 13th-century château in the Vendée and a beautifully restored 100-year-old sailing boat which is moored on the river Nile. When visiting the boat, he says, “by the second night, the stress of the city has evaporated. I’m looking at this beautiful panorama at a pace that is caressed by the wind. There is no motor, so if there is no wind, you stop. I love to sketch on the river with the landscape passing by. Everyone is affected by stress – even if you adore your working life, it’s important to extract yourself,” says Louboutin.

Christian Louboutin in Egypt, 1999. Copyright and courtesy Christian Louboutin

“Luxury – it has to create a form of reverie. Yet, it’s a huge word and belongs to so many territories. My luxury is not to buy expensive things – I see luxury as a door, an exit that allows for the freedom of mind and identity. And to have that escape is necessary for wellbeing,” says Louboutin. Being able to realise his own dreams has also made him something of a role model for a younger generation. If his twenty-year-old self could see his fifty-something self now, what would he see? “I would see a man living through his dreams. I would look at that person and see someone who tried not to live through preconceived ideas and who has a voice and that means someone who also listens,” says Louboutin. “Success is an added value.”

Christian Louboutin on how male/female fluidity is affecting his design thinking

“Something that has affected my design in recent years is the shifting of identities and the fact that I was compartmentalised between men and women before. That has dissolved for me into another way of thinking about male and female identity. Now, I have a freer way of designing. Outside of the traditional stereotypes, there is a bit of the showman in every man, and this is a new discovery.”

Find out more: christianlouboutin.com

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

Prince Robert de Luxembourg. Courtesy of Domaine Clarence Dillon. F. Poincet @ OccitMedia

Prince Robert de Luxembourg is taking Domaine Clarence Dillon and Château Haut-Brion, one of Bordeaux’s most prestigious wine estates, into the future by creating new winemaking facilities, a fine wine shop and a visitor centre. LUX speaks with him about mixing the worlds of art and fine wine, and growing the family business

Prince Robert de Luxembourg – just plain Robert to his friends and this interviewer – is in a hurry, although you wouldn’t know it. He is about to embark on his first family trip to the US, to visit the American side of his family, since before the pandemic. But if he’s ruffled by having to deal with the stresses of international travel currently, he isn’t showing it. “And how have things been with you?” he asks, listening thoughtfully and diverting briefly into a conversation about how curious the media world is right now.

Follow LUX on Instagram: luxthemagazine

Robert is someone who could easily have done very little at all; after becoming involved in the family company a decade earlier, in 2002 he became Managing Director of the family’s holding of Domaine Clarence Dillon, which owns, among others, one of the world’s most celebrated wine estates, Château Haut-Brion. Haut-Brion is what is known by connoisseurs as a ‘First Growth’, standing alongside Châteaux Lafite, Mouton-Rothschild, Latour and Margaux; the China-driven rise in values of these wines in the past 20 years has meant a surge in profit margins for their owners. A case of 12 bottles of 1989 Château Haut-Brion will set you back more than £15,000 (more than US$20,000); in a restaurant, a recent vintage will usually be priced north of £1,000 per bottle.

Haut-Brion also has more heritage than pretty much any other wine: American founding father Thomas Jefferson famously took a case home to Virginia in the 1780s; and, for those who care about these things, it has a distinctive style, often richer and more earthy than its fellow first growths.

The salle des vignes in the 19th-century Pavillon Catelan, at Château Haut-Brion in Bordeaux, which has been converted and extended into a new visitor centre. Courtesy of Domaine Clarence Dillon

Like his wine estate, Robert has strong links to the US: his mother, Joan Dillon, was a stalwart of the US political establishment, who married Prince Charles of Luxembourg, a direct descendant of King Henry IV and Louis XIV, and a member of the Bourbon family. The heritage of the estate and other holdings in Domaine Clarence Dillon comes from his mother’s line: it was his maternal great-grandfather, Clarence Dillon, a Texan financier, who purchased Haut-Brion in 1935.

There’s an element of the Texan in Robert; his warm-hearted greetings, openness to conversation, straightforwardness. His English is somewhere between the private-school British of his upbringing and the East Coast aristo of his US family.

There is another side to him that needs prising out a little: the creative. He started out as a Hollywood screenwriter, one with considerable potential it appears, as one of his screenplays piqued the interest of Stephen Spielberg and was eventually optioned by Colombia Pictures. Although we don’t talk about it much, he plainly enjoys his interactions and ideas with the media and film crews, and there is creativity in both his planning as he expands and recreates his Domaine for the next decades and in the execution of elements such as Le Clarence and Pavillon Catelan.

The former is the restaurant he opened in Paris in 2015, now with two Michelin stars under chef Christophe Pelé, which, though reflecting a decidedly modern version of French cuisine, has been created to feel like dining at a Bordeaux château. The latter is his new creation at Château Haut-Brion and its (almost equally celebrated) neighbour La Mission Haut-Brion, a lavish visitor centre with contemporary-Baroque drawing and private dining rooms. The key message: the visitor experience can now be as lavish as are the wines.

Château Quintus in Saint-Émilion, part of Domaine Clarence Dillon. Courtesy of Domaine Clarence Dillon

LUX: To what extent have you transformed Domaine Clarence Dillon? It’s a broader business now than when you took over.
Robert de Luxembourg: It was a farm when I arrived as a child. We had no offices, it was just one venerable wine estate, Haut-Brion. There was an accountant who would come maybe one or two times a week to my great-grandfather’s apartment in Paris and that was the only ‘office work’ that was undertaken. There was also a gentleman who would organise visits in Bordeaux occasionally. At that time it was a farm and today, we have become a group of companies, the mother company being Domaine Clarence Dillon. This entity oversees five subsidiaries, three vineyards and many more wines. We have grown into a substantial and expanding wine business enjoying a multitude of related activities.

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I believe considered growth is important for a family company in order to survive and flourish. In the short term, you could do very well having one extraordinary trophy, but if you want to keep the family involved and the shareholders happy over the long term, you also have to evolve and grow. That is as important as the element of pride and belonging and being part of an exciting story. The bottom line is making sure that future generations of our family remain committed and invested in the business. So, yes, growth has been a part of my strategy along with enjoying the creativity of developing new lines of business. This company spirit is important to all of our stakeholders – my colleagues, my family and ultimately our customers. Tradition and innovation are an integral part of our DNA. As an entrepreneur, and standard bearer for our family and company, I find this mix both exciting and rewarding! Every time you start something new, it offers you all kinds of other directions in which you can take the business, whether it’s a restaurant, or retail or wholesale. I am very proud to say that we have accomplished this successfully in all of the related lines of business that we have developed. Clarence Dillon and Haut-Brion were my initial inspiration. This has led us to reach a level of excellence in all of our new activities that become references of quality in their own domains in the world of fine wine.

By the way, we have just had one of the most successful en primeur campaigns of all time. Quite unexpected, given the context! This is particularly exciting for Quintus but also for Châteaux Haut-Brion and La Mission. Our campaign lasted two-and-a-half hours during which we sold all the wine that we released on the market. Life slowly seems to be coming back to normal and it is gratifying to see interest and sales returning from hotels, restaurants and the airlines industry, which had remained very quiet over the previous 18 months.

The salon gentilshommes, one of the private dining rooms at Pavillon Catelan. Courtesy of Domaine Clarence Dillon

LUX: You are building a new cellar at Haut-Brion. What prompted this?
Robert de Luxembourg: All big changes at the estate, even dating back to the 17th century, have been driven by newer winemaking practices. Whether it’s the Pontac family producing new French claret or the introduction of adding sulphur and racking and even introducing estate bottling later, these winemaking developments are constantly driving innovation. When we brought in tractors in the 1950s, I think they were the first in Bordeaux and we had to house them somewhere, so we needed a building. When we brought in new vats in 1961, which were the first steel ones to be used in winemaking in Bordeaux, the buildings needed to accommodate them. And then in 1991, 1990 or even 1987, when we were rebuilding the entire chais at La Mission and designing new vats, this informed our advances during the following decades.

Over the past ten years we have been re-thinking our whole way of winemaking. This is driven by a desire to offer the finest winemaking tools in Bordeaux to our colleagues. We also aim to create carbon-neutral buildings that offer the perfect working environment for my colleagues and an exceptional visitor experience that focuses the attention squarely on the world’s most eminent historical winemaking estate, Château Haut-Brion.

None of this is particularly new. We started integrating the first solar panels back in the early 1990s at our estates, and we’ve slowly continued to build these up over the years. Now, with this new project, our intention is to complete this work at Haut-Brion by fashioning a totally carbon-neutral installation. Through our collaboration with the German-American architect Annabelle Selldorf and her team, we are developing the Château Haut-Brion installations of the future, while respecting the past and placing the focus back on this historic estate. This will be the most important undertaking at this estate for the past few centuries. We have been working on it for six years and it will take four more vintages to complete.

The salle des vignes at the Pavillon Catelan. Courtesy of Domaine Clarence Dillon

LUX: Your winemaker and Deputy General Manager Jean-Philippe Delmas must have a big role in this?
Robert de Luxembourg: Absolutely. The technical considerations for this project were front and centre. Jean-Philippe, alongside our Technical Director, Jean-Philippe Masclef, have together been driving this key process. It is interesting to think that Mr Delmas’s family has been overseeing all of these technical revolutions at this estate across three generations, starting with his grandfather, Georges Delmas, in 1923. At the very start of this project, having identified our architect, I told them, “You have carte blanche. What tools do you need in order to make the very finest wine possible?” Then we built a whole concept around what they had come up with. That has to be the starting point because it is ultimately exceptional terroir and wine that have always driven our success. After this came safety, comfort, ESG, sustainability and the visitor experience. Covid-19 provided us with extra time for reflection.

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It has been a wonderful experience working with Annabelle Selldorf. Her firm had no experience in the arena of wine but a deep and very varied experience in other sectors, with a particular focus on museums, galleries and art. They recently worked on the Luma Foundation in Arles in parallel with Frank Gehry. They are just completing the extension of the Frick Collection in New York and refurbishing the Museum of Contemporary Art in San Diego, and she’s done galleries for David Zwirner and Hauser & Wirth over the years, and has recently received an important commission to work on the National Gallery in London. So, it was interesting for me to bring all of that expertise into a technical project to look at how these two worlds could come together.

The main challenge for me was that Haut-Brion has the most extraordinary history of any vineyard in the world. We didn’t want to create a huge architectural statement. If anything, we wanted to put the focus back on the Château and its story. So, we needed something technically perfect, as I’ve described already, but also, from an architectural standpoint, a structure that was rather discreet. That’s why we needed an architect whose design principles and statements wouldn’t overwhelm the history but respect and celebrate it, all the while introducing a very modern concept.

Haut-Brion 1985, a classic vintage of the château. Courtesy of Domaine Clarence Dillon

LUX: What about the design of the new chai, and how will it relate to the Château?
Robert de Luxembourg: As I mentioned, it’s a modern, carbon-neutral construction using all the latest technology, whether geothermal or solar. As far as the design is concerned, it’s purposely discreet in order to focus the eye and mind on the Château, which is one of, if not the earliest château that was built solely to oversee wine production for the Pontac family whose house was not far away in Bordeaux. So the Château has sort of been obscured over the centuries as people have added on bits such as technical buildings and farm buildings. I would love to open up the Château again so that it is the first thing you see when you arrive. This is not the case today. And we’re trying to get away from having cars and tractors and stuff in the courtyards around the Château and just have serene parks and gardens outside. And that’s another concern: how do we monitor how people are going to be coming to us? Will they be coming in self-driving vehicles? Will they be coming in self-flying drones? How do we accommodate the new visitor over the next few decades? It’s not just about what’s going to happen in five years, but the next fifty.

LUX: So what will a visitor see in 2022?
Robert de Luxembourg: Well, in 2022, it’ll be a big hole, so there will be nothing. That’s why we have built our new visitor centre. And La Mission and Quintus will still be available for visits. Also, the shop, La Cave du Château Bordeaux, opened in July.

LUX: What will the private dining experience at the visitor centre be like?
Robert de Luxembourg: The idea is to recreate the atmosphere that we have in Paris [at Le Clarence Restaurant] so that people feel they are surrounded by the vineyards and they can have tailor-made tasting experiences. They can bring their friends and have access to an extraordinary range of vintages they will not have access to elsewhere. And the wine is going to be from our estate only.

The façade of Hôtel Dillon, Paris. Courtesy of Domaine Clarence Dillon

LUX: Will there be a kind of VVIP experience that you can offer with this private dining?Robert de Luxembourg: I think anyone that comes to us should be considered a VVIP. That’s our culture here; we’ve always welcomed all visitors and everyone has been treated as a guest in our home. We’ve never, to date, sold anything. We’ve never had anyone pay for any experience: it has always been free, everyone’s always been given free wine. So, in time, that is going to have to shift, because it’s a huge amount of work to have people serve and run the visits and the rest of it. Today, we receive around 10,000 visitors a year, and pouring 20,000 glasses of La Mission and Haut-Brion for free has an impact on our stocks when we are producing very little anyway. So, I don’t think it can go on forever, but within the new buildings, we will have dedicated spaces for visitors and special dining areas. Access to certain areas, depending on what you’re interested in, will be limited, of course, because we have collections of documents in our library, our collections of cultural tools, etc. Our new facilities will be outside the new visitor experience, but for the next few years – because it’s a three-year process before we even start the other building – we will have people using this space and they’ll be able to have catered lunches or dinners.

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LUX: Is it returning to business as usual at Le Clarence, following the lockdowns?
Robert de Luxembourg: I’ve tried to bother the chef as little as possible because it’s been complex getting up and running again. So far, the feedback that I’ve received from people who are friends of mine who have gone there has been very positive. It’s getting back into training and if you’re playing at the top of the league, you need to build up slowly and so that’s what we’re doing. I anticipate that we will become a little bit more normal in our practices and open up further come September. Our private rooms have had little use – we haven’t felt comfortable doing that – but it’s all now slowly returning to normal. What’s great is that people are so excited to be there with us. People are coming and staying very late. That’s part of the advantage the way the Clarence is conceived: they come and they stay. It can be challenging for our team because we have people still finishing their lunch at 6.30pm just as we have diners arriving, so we need to accommodate that, especially when people have missed this experience so much that they don’t want to depart.

The team of the hotel’s restaurant Le Clarence. Courtesy of Domaine Clarence Dillon

LUX: Can you tell us more about the 2020 vintage and also a bit about Château Quintus?
Robert de Luxembourg: Well, 2020 has been a huge success. Obviously, over the past few years we’ve had Mother Nature on our side. One of the positive aspects of global warming – if you’re looking for them – is that we’ve been making some extraordinary wines with vintages that happen to be in line with some of the finest vintages made over the past century. When you look at vintages such as the ’45s, the ’47s, the ’59s, the ’61s, the ’82s and the ’89s, they tended to be hot, dry vintages but still with enough humidity for the wine not to be stressed. Even 2003, which was the hottest, still has lovely acidity in the reds and the whites didn’t suffer either. The weather conditions have been perfect in order to produce great vintages and obviously the techniques have also improved significantly.

With Quintus, we’ve acquired three sites with different vats, both concrete and steel, so it was also an amazing laboratory for us to work in. Ironically, there was probably more variety to work with here for our winemakers than they had at La Mission or Haut-Brion. It’s taken some time for them to fully come to terms with the terroir, which is normal, but with 2020 we’re now coming up to our tenth vintage.

We’ve grown with the property, we understand it better every year, and I think we’ve made the best wine so far in 2020 and it’s recognised by the market. It’s the first time where, you know, critics are confidently saying, “Yes, this is a truly great wine and terroir”. We have totally changed the winemaking practices here on the right bank. I have never hidden the fact that my motivation is to produce one of the top (if not the finest) right bank and Saint- Émilion wine at this estate. That is why we named the estate Quintus (as the Romans may have named their fifth child). Quintus has the same potential as our first four wines, both red and white, to be one of the very finest wines in the world. I believe that we are up to the task of making this dream a reality!

Robert de Luxembourg’s key milestones

2002: Becomes Managing Director of his family’s Domaine Clarence Dillon, owner of Château Haut-Brion
2005: Launches mid-market wine brand, Clarendelle
2008: Takes over as Chairman
2009: Completes major refurbishment at Château La Mission Haut-Brion and begins the same at Château Haut-Brion
2011: Acquires Château Quintus
2015: Opens Le Clarence restaurant and La Cave du Château wine shop in Paris
2021: Opens the Pavillon Catelan visitor centre and La Cave du Château at Haut-Brion
2025: Château Haut-Brion cellar refurbishment due to be completed

Find out more: domaineclarencedillon.com