Emilie Pastor © Kate Martin.

Emilie Pastor is a scion of the Monaco real estate and art collecting dynasty; Sibylle Rochat works with her as art advisor. Here, they speak to Samantha Welsh about their unique style of spotting and supporting artists

Emilie Pastor was born into art. She is a scion of Monaco’s renowned real estate family, and her father Michel Pastor was one of the most significant European art collectors of the 20th century. Emilie has teamed up with London-based art advisor Sybille Rochat, herself a significant figure on the collecting and consulting scene, to found the philanthropic organisation Concrete Projects. Pastor and Rochat are supporting emerging talent by providing financial and logistical support and expertise, and catalysing some exciting new collaborations with the music scene.

LUX: What made you want to engage in the art world together?
Sibylle Rochat: We started to see how, because of commercial pressures, everything was looking the same. It’s always the same artists represented by these mega-galleries that can produce big shows for a museum. We realised that a lot of young and mid-career artists were talking about projects that were impossible because of a lack of funding. The art world needs new voices, new ideas, new concepts.

Emilie Pastor: I wanted to give back and to make sure that creativity would go on, that it would not become too business oriented. That’s why it challenges us, to know that we are able to give this little bit extra, to have exhibitions that couldn’t be realised without us.

Concrete Projects supported Our Product, an exhibition by Pamela Rosenkranz at the Swiss Pavilion, Venice Biennale, 2015. Image by Marc Asekhame.

LUX: The two things you offer are financial and technical support. How does that work?
Sibylle Rochat: When there’s a big project that we want to participate in, it’s quite challenging financially for galleries because they always need private support, especially with all the cutbacks in the culture sector. But what we offer is never big, big financial support. Rather, we’ll pay the technician, or for the water for the swimming pool, or the painting. For technical support, we have a solid network of art technicians and art handlers – very specialised craftspeople.

Emilie Pastor: For sustainability, we will try to have local support, too. That’s important for us.

Sibylle Rochat: Yes, we try to never fly anyone in for a project. We’re very careful about our carbon footprint. It’s good to source locally, for the community around the museum, for the artists to know the city, and so forth.

Sibylle Rochat © Kate Martin.

LUX: You also support Chisenhale Gallery.
Sibylle Rochat: I really like Chisenhale’s programme – the work they do and the space they give to new voices. They have an amazing track record in terms of artists. They’ve been showing Lynette Yiadom-Boakye since very early on, as well as Camille Henrot, Caragh Thuring and other young artists. We supported the work of Hannah Black there – she’s a very political artist who’s leading challenging conversations about change.

LUX: What does it take for a work to resonate with you?
Emilie Pastor: I need to feel something. I need to understand it, to see if it makes sense in my collection, if it’s coherent. I think about my children when I add to my collection – it’s a kind of legacy. I want to leave them something that has a meaning, that tells them something about the time they grew up in.

Sibylle Rochat: Kids only ever know them as parents. Art allows children to see and know their parents better.

CAT’S PAW by Abbas Akhavan was also supported by Concrete Projects at Chisenhale Gallery, London in 2021. Courtesy of the artist. Photo by Ali Sadeghian

LUX: What projects do you have coming up?
Sibylle Rochat: We noticed the strong rap scene – grime especially – in places in south London like Peckham. Some of the musicians were looking at contemporary art for their album covers, but there was no bridge. So we decided that it would be good to put the two together to create an art video and track. (Think about Kanye West, who asked Louise Bourgeois to do his album cover.) We expose them to another scene. It’s an opportunity for both sides to find another world and be enriched by that. What I see is these young kids creating songs which resonate with video artists today. They need to do something together!

Find out more: concreteprojects.co.uk

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

One of Molori’s recent and largest projects is this 2,100 sq m home in California, remodelled as a resort

Molori Designs takes the concept of bespoke to a whole new level. Answering all your lifestyle needs, whether you’re on safari in South Africa or settling down in Santa Monica, they specialise in tailoring everything to the individual client. LUX speaks with founder Kirk Lazarus

Super yachts, private jets, sleek urban apartments, tropical beachside villas, endless vistas and infinity pools – global architecture and lifestyle company Molori Designs is in the business of dreams (‘molori’ means ‘to dream’ in Tswana, a southern African language), or rather, the dream. This is the one where you, essentially, have it all. Founded by South African-born, Sydney-raised entrepreneur Kirk Lazarus, the company owns a safari lodge in Madikwe Game Reserve in South Africa, several resorts in Clifton and Cape Town, and Port Douglas in Australia and a superyacht called Told U So. They also develop and design luxurious, turnkey homes for the ultra-rich which are carefully curated to the individual’s needs and tastes, from the art hanging on the walls to the types of spirits stocked in the bar. “Usually when people think of resorts, it’s connected with the idea of going on holiday. Our goal, from a design perspective, is to create a lifestyle where you don’t need to take a vacation from it,” says Lazarus.

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As such, their design approach is focused on not only achieving the highest possible standards of luxury living, but also anticipating the future owner’s day-to-day needs. They often ask clients to talk them through their daily routine from the time they wake up to the time they go to bed so that they can pinpoint moments which could be made more seamless. Of course, this is also the appeal of branded residences, which are kitted out head-to-toe in, say, Giorgio Armani or, in the case of hotel-branded residences, come with all the expected five-star amenities and services: private chefs, valet parking, housekeeping, a 24-hour concierge. The key difference, however, is that with Giorgio Armani or Four Seasons residences, you’re buying into a lifestyle defined by that brand, but with Molori’s homes, every aspect of the design is tailored to the specific individual or family. All furniture is custom-made in Italy and the company collaborates with luxury brands to create bespoke fixtures such as Murano glass × Molori chandeliers, and Missoni Home upholstery.

The living room (top) and formal dining room of an apartment in New York City overlooking Central Park designed by Molori

There are, however, a few design principles that define every Molori residence. “We make sure that every corner of your home has a purpose regardless of how big the property is,” says Larissa Makkonen, one of the company’s designers. “Amazing views are also always a priority for us. We often use mirrors to reflect the ocean or landscape so that you feel surrounded by nature.”

The pool area of a California beachfront home, designed by Molori in 2018

As the company is relatively small, the team is directly involved in every stage of the project, which allows them to continuously adapt their designs and push for greater levels of personalisation. With yachts, for example, that means going to the shipping yard where the boat is being built and discussing how much they can manipulate the basic structure to include bigger windows or more spacious bedrooms.

Read more: How Andermatt became a leading luxury destination

The ability to adapt is also fundamental to the company’s approach to sustainability. They try to “create the greenest environment possible” while also anticipating changes in climate and landscape. According to Lazarus, beachside residential projects have been particularly challenging in recent years due to global rising sea levels and how the need to accommodate this will impact the coastline in the future.

The master bedroom in the New York apartment

For now, though, his sights are set on Miami – “one of the places to be for luxury” – where Molori currently has several turnkey projects in progress. “It’s exciting to see how far we can push the envelope in luxury-style living,” Lazarus says.

Find out more: molori.com

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

The OWO by Raffles, Whitehall, London

Jeff Tisdall

The Old War Office was the centre of operations for the UK war effort. Three quarters of a century later, The OWO has once again become a focal point, but this time as one of the leading hotels and branded residences in Central London. Ahead of the hotel’s opening next year, Samantha Welsh speaks to Jeff Tisdall, Senior Vice President of Development, Residential & Extended Stays at Accor, about Raffles’ first London-based project

1. How significant is Raffles’ arrival in the UK and London?

It is difficult to underestimate the importance of Raffles’ arrival in London. Really, there is an argument that this is the most important milestone in the evolution of the brand since the opening of Raffles Singapore back in 1887. Raffles Singapore takes its name from the British statesperson Sir Stamford Raffles, founder of the modern city-state. It has been setting the standard for luxury hospitality for more than 130 years, introducing the world to the concept of private butlers. There is something very fitting and meaningful about bringing the brand back to the UK as part of this extraordinary development.

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2. Why does The OWO standout in the London super prime market?

The OWO has really set itself apart in London’s resilient, super prime residential market. Over the last decade, branded residences have really come into their own and often dominate the very highest end of leading property markets around the globe. In this market context, The OWO Residences stands out as a one-of-kind opportunity. The dedicated Raffles team will deliver an unmatched service offering. We spent a lot of time during an extensive planning phase, curating the offering and designing an unrivalled set of private facilities that are exclusive to residents.Without question, this will be an extraordinary address to call home.

The dining room at The OWO. Image courtesy of Grain London

3. Have you seen as much branded residential development in London as has been observed in other super prime markets?

I think it is fair to say opportunities to develop luxury branded residences have been more constrained in markets like London, where we see greater reliance on historical conversions. The integration of the hotel and residences at The OWO ensures an array of services will be available to residents, with an internal courtyard that provides the residences with some physical separation from the hotel. It is this perfect balance between service on one hand, and privacy, exclusivity and security on the other, that is often so elusive, and perfectly achieved at The OWO.

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

4. How does The OWO compare in scale to other Raffles residences?

Each Raffles Residence project forms part of a global portfolio of extraordinary private homes – all meticulously designed, luxuriously appointed, and of course infused by Raffles legendary passion for service. Yet, each project is entirely unique.

In terms of scale at The OWO, our partner, the Hinduja Group, has taken the private amenities available to a new level of luxury. Residence owners will have access to an extremely generous 30,000 square feet of exclusive residential facilities. Of course, The OWO will also be a culinary destination, featuring nine restaurants and bars.

Principal bedroom at The OWO. Image courtesy of Grain London

5. Why have branded residences become so appealing post pandemics?

For many, the pandemic has served to help bring what is important in life back into clearer focus. The fact that for purchasers at The OWO, their homes will be serviced by Raffles, a brand with experience and trust accumulated over more than 130 years, brings tremendous peace of mind. Today’s UHNW buyer is also looking for authentic, meaningful luxury. From a service perspective, we focus on what we describe as emotional luxury. How we make a resident feel is every bit as important as the services we deliver. From a dedicated concierge team to fitness and wellness attendants, dog walking and sommelier services, private chefs and legendary Raffles Butler services, there really is no detail overlooked.

6. What benefits do residents of The OWO receive?

The Residence Director leads a dedicated residential team of 25-30 people. This team is focussed solely on The OWO residents. In-residence dining, catering for private events, spa treatments and housekeeping are just a few of the optional a la carte services that can be arranged. Homeowners will also be embraced as VVIPs at Raffles London, enjoying priority reservation privileges at dining venues and preferred pricing. The effect is to create a sense of belonging, recognition, and privilege. Additionally, through the Raffles Owner’s Club, this preferred status is extended beyond The OWO to 5000+ participating hotels and resorts worldwide, and more than 40 brand portfolios.

Find out more: theowo.london

Portia Antonia Alexis is a leading consumer business analyst, neuroeconomist and mathematician

Portia Antonia Alexis is a consumer goods analyst and researcher specialising in the realm of neuroeconomics, where she uses advanced analytics to determine the thought processes of consumers and how best to appeal to them. Here, the McKinsey alumnus speaks to LUX about the impact of the pandemic on consumer habits and the future of hard luxury

LUX: How do you define hard luxury?
Portia Antonia Alexis: Hard luxury is simply a term that refers to timeless products such as watches and jewellery, while soft luxury refers to products such as leather accessories, bags, and designer clothing. While this may sound a little basic, an easy way to remember the difference is that hard luxury refers to pieces that are physically harder to break, while soft luxury refers to pieces that are soft to the touch.

LUX: What was the relationship between hard luxury and e-commerce pre-pandemic?
Portia Antonia Alexis: Pre-pandemic, hard luxury goods were very rarely sold online. After all, while major hard luxury retailers such as Tiffany & Co., Longines, and Rolex consistently advertised through online channels, the idea behind these advertisements would be to drive people to their in-person stores rather than try to drive online purchases.

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The reasons behind this can mostly be attributed to the price of hard luxury brands. Generally speaking, a high-quality piece of jewellery or a luxury watch will cost over $1,000, and in an online setting, many people were uncomfortable with spending such a large sum of money. Online shopping was also much less conducive to driving sales, as while an in-person salesperson could use sales tactics to condition the brain into making a purchase, the nature of an online shop made it much harder to do so. As a final note, many people enjoyed the experience of shopping for hard luxury in-person, as they get a psychological ‘high’ of sorts due to the increase in perceived status that they felt when shopping for an expensive item in person; however, when online, this reaction was greatly muted.

LUX: How has the hard luxury sector been affected by COVID-19?
Portia Antonia Alexis: As with many industries, hard luxury sales plummeted during the first few months of the pandemic, but by the third quarter of 2020, there was a large resurgence in sales. For example, in the third quarter of 2020, the luxury conglomerate Richemont had a 5% increase in sales that was largely bolstered by its jewellery assets and during that same time period, Maisons had a 13.3% increase in sales, which was largely thanks to a strong performance by its hard luxury brands Cartier and Van Cleef & Arpels. I expect to see this positive momentum continue in 2022, and I would not be surprised if hard luxury revenues meet 2019 levels this year.

LUX: From a neuroeconomic standpoint, why do you believe this rise in sales occurred?
Portia Antonia Alexis: Given that most hard luxury brands were reliant on in-person traffic to drive sales, the pandemic necessitated a complete revamping of the online experience so that these brands could replicate the same psychological triggers that shoppers felt when they were in-store.

One of the biggest innovations in this field was the advent of personalised online appointments. These appointments involve a salesperson booking a time with a client and then having a video conference where they have their entire collection on offer, and these were great substitutes for in-person appointments for two main reasons. The first was that the salespeople were able to use many of the same sales tactics that they used in store, and from a neuroeconomic standpoint, this generated a more positive response in the brain of the client that then led to a higher conversion rate than a simple online store would have. The second major difference was that the salesperson could physically try on a piece of jewellery, and this was important because it not only allowed the client to analyse the fit of a piece using a real person as a point of reference, but made the client more comfortable with shelling out large sums of cash for an item.

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

Another major innovation was the increased emphasis on customer service. On a basic level, this was done by having more people on hand to answer questions and do sales calls and by making the waiting time for answers either online or on the phone much shorter. This helped give clients peace of mind while shopping, alleviating a lot of the unknowns that come with purchasing while only having a picture as a frame of reference. This customer service also extended to details such as warranties and returns. In the past, many hard luxury companies had strict return policies, but in light of the pandemic, many made it so that you could try a piece on and then return it if necessary. This was crucial as it made people much more comfortable with making a large online purchase. However, since it is generally a bit of a hassle to return something, this barrier would cause many clients to mentally accept sub-par items, leading to items that would have been rejected in store still getting sold so long as they looked good online.

In tandem, these two factors made online shopping far more similar to in-person shopping than it was pre-pandemic, and as a result, sales were able to remain relatively high despite the fact that there were very few physical stores that were open.

LUX: Are there any other major factors that you feel were important?
Portia Antonia Alexis: I’d say that the influence of geographic variation cannot be overstated. While business in the United States was lacklustre, China and Japan, which are the second and third largest luxury markets by annual sales respectively, became especially influential after removing their COVID-19 restrictions earlier than most. That’s because there was a marked rise in ‘revenge buying’, which were shopping sprees driven by a feeling of having missed out during the lockdown, and ‘reunion dressing’, which were surges in demand driven by re-uniting with people after large periods of time in lockdown, and in tandem, this led to a massive growth in sales in these countries. In fact, mainland China was the only region on the planet to come out of the COVID-19 pandemic with higher local spending than it had in 2019, as it experienced a massive consumption growth rate of about 45%. When you further consider the increase in per capita wealth being generated in China, I’m confident that in the next few years, China may overtake the United States as the world’s leading hard luxury market.

LUX: What will hard luxury companies have to do to encourage growth post-pandemic?
Portia Antonia Alexis: I think that one of the single most important changes that hard luxury companies will have to undergo is the shifting of their focus from the American market to the Asia-Pacific one, with China being their primary long term target.

Research has shown that relative to American consumers, Chinese consumers tend to have very different responses to advertisements. More specifically, it seems that while American consumers respond well to brand awareness, which is created by, say, commercials at the Super Bowl, Chinese consumers tend to be far more concerned with intrinsic value, which derives from factors such as the quality of the materials used, how the goods are created, and what the brand’s story or ethos represents.

Chinese consumers also seem to respond poorly to discounted merchandise. Now, during the pandemic, many American brands dropped prices or released lower cost lines of products in order to make their goods more affordable to cash-strapped consumers. However, this often backfired in the Asia-Pacific, where consumers perceived this fall in prices to be a drop in intrinsic value, which therefore made the goods less desirable than they were before the prices were decreased!

In any case, I think that if American brands are to fully take advantage of the Chinese markets, they will have to focus more on building a long term story for their brand and less on simply creating a recognisable logo with flashy advertising. However, given that the Chinese and American markets are so large yet so different, the big challenge here will be to straddle the competing consumer mindsets in both regions. In my opinion, hard luxury brands can achieve this by applying different neuroeconomic principles to their marketing campaigns and brand building on a regional basis, and my hope is that in the coming years, more analysts with a neuroeconomic background will enter the consulting field so that this can be achieved!

Portia Antonia Alexis is a neuroeconomic consumer goods analyst and researcher who works with luxury brands such as L’Oreal, Estee Lauder, and Tiffany & Co. @portiaeconomics

Georg Karl Pfahler in his studio, 1965

Our contributing editor and columnist Sophie Neuendorf caught up with renowned Mayfair gallerist Simon Lee to discuss the Asian art market, NFTs and the enduring influence of Georg Karl Pfahler

Sophie Neuendorf

Simon Lee has always been at the forefront of artistic movements and changes in taste, showing emerging and established artists that represent the zeitgeist and rapidly gain popularity. Now, he’s presenting the first ever exhibition of German hard-edge painter GK Pfahler (1946-2002) in Asia.

Pfahler’s dogged pursuit of the hard-edge style make him one of the most unique German artists of the last half century. Throughout his career, his work remained steadfastly focused on the interplay of space, shape and colour. At the same time, his paintings contain traces of pop and minimal art, unifying two of the most prevalent styles of the 1960s.

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During his lifetime, Pfahler exhibited alongside artists such as Frank Stella, Ellsworth Kelly, and Kenneth Noland in shows such as “Signale” at the Kunsthalle Basel, Switzerland and  went on to represent Germany alongside Gunther Uecker and Heinz Mack at the Venice Biennale in 1970. In the decades that followed, Pfahler continued to experiment with the constraints and boundaries of painting and today, his work remains more relevant and perhaps, even more cutting-edge than much of the contemporary art being shown and hyped.

Sophie Neuendorf: 2021 has been quite a tumultuous year for most galleries. How do you feel about the changes we have experienced within the art business?
Simon Lee: The pandemic has given rise to some fundamental shifts in the way art is mediated and bought. Online sales have greatly expanded the reach of the art market and we have seen a corresponding shift in taste and commercial success.

Sophie Neuendorf: Recent reports suggest that Asia is a force to be reckoned with in terms of creativity and sales, even post-pandemic. What insights can you reveal from your years of experience in Hong Kong?
Simon Lee: Asia has seen tremendous developments across many industries over recent years and I think that the overall growth in the economy, alongside technological advancements and adaptation has contributed to the flourishing creativity seen in the art world. There has been a huge increase in young collectors and the interest in art of this young and active group of people has risen exponentially as their taste becomes increasingly sophisticated and international. The pandemic inevitably provided people with more time on the internet and social media platforms to discover new artists and experience art in a different way.

Sophie Neuendorf: You’re opening a show of German artist Georg Karl Pfahler in Hong Kong this month. What motivated you to choose a hard-edge painter for Asian collectors?
Simon Lee: It’s very exciting to be presenting Pfahler’s work for the first time in Asia and to introduce him as part of the gallery programme with his inaugural exhibition in the Hong Kong space. The language of abstraction and colour in Pfahler’s work is of historical importance but it also feels very contemporary and is something that Asian collectors engage with well. Pfahler is a very well-known artist in Germany but hasn’t had much exposure in other parts of the world so it’s a privilege to give the opportunity for an Asian audience to discover his work.

Read more: Shiny Surfaces, Lawsuits & Pink Inflatable Rabbits – In Conversation with Jeff Koons

Sophie Neuendorf: Pfahler was, and continues to be, an inspiration for many artists as a pioneering hard-edge painter. When was the first time you experienced one of his works and how does it feel to represent the estate?
Simon Lee: Pfahler’s work has had a lingering presence in my career dating back to the 80s and 90s, when I spent a lot of time in Germany and first discovered his work. Over the years I saw his works pass through auction houses and when the opportunity came along to view his work again, I found them very compelling and relative to the gallery programme. It’s a pleasure to be working with the estate and I’ve been particularly impressed with how organised they are. There are fascinating archival materials and historical documents, which we are excited to share with a wider audience across our platforms and publications.

Sophie Neuendorf: Are you planning a London show of Pfahler as well?
Simon Lee: Yes, we look forward to presenting a more comprehensive survey show next Spring in the London space.

Sophie Neuendorf: If you could juxtapose Pfahler with any two other artists who would you choose?
Simon Lee: Looking at our programme, I would say Angela Bulloch and Sarah Crowner. Pfahler, Bulloch, and Crowner’s practices all present similar investigations into colour, shape and space. There are spatial and architectural elements in all their works. Crowner embraces the idea of painting as object and her works embody the experience of architecture and space both within themselves and their display, especially her tile works that echo Pfahler’s experiments with environments and art, and which embrace the spectator. Bulloch’s work also engages with architecture, colour, and mathematics, her stylised geometry recourse some aspects of Pfahler’s hard-edge sensibility.

Sophie Neuendorf: Richter, Uecker, Mack, Pfahler… Germany is known for producing a plethora of important and popular artists. How do you feel the German market will develop over the near future?
Simon Lee: The German market is constantly evolving. It’s a large nation with many talented artists and many young artists that are gaining a lot of attention. There’s a great tradition of German modern and contemporary art which has transcended national boundaries so I’m sure the market will reflect this. The art market has become truly global, reinforced by digital communication but there are certainly many talented German artists playing a role at the forefront of this market.

Read more: Maryam Eisler’s Spectacular New Photography Exhibition Opens At Linley In London

Sophie Neuendorf: NFTs are all the rage right now. Will you enter the market?
Simon Lee: We’re certainly exploring the opportunities that exist in this sector and market. There seems to be a growing recognition of the fact that NFTs will be a feature of an emerging mainstream market.

Sophie Neuendorf: How do you choose the artists you represent? Is it a gut feeling or more analytical?
Simon Lee: It’s neither one nor the other but a combination of many factors that play a role in selecting our artists. Certain people carry more weight than others with their recommendations but, it’s most important to consider the overall gallery programme and the connection to our other artists. I look at both our established artists and emerging artists to see how their practices and works link together. It’s interesting to me to observe this in artists that are at different points of their career.

Sophie Neuendorf: If you could have dinner with any 3 artists, living or dead, who would you choose and why?
Simon Lee: I’ve dined with many great living artists and sadly some dead ones as well, but of those who I’ve never met and are no longer with us, I would say Leonardo, Michelangelo, and Titian as I love Italian food. Other scenarios would have to include Rothko, de Kooning, and Pollock or Cézanne, Monet, and Kandinsky.

“Georg Karl Pfahler” runs until 8 January 2022 at Simon Lee Hong Kong.

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

In our ongoing online series, renowned art consultant Maria-Theresia Mathisen profiles rising contemporary artists to watch in 2021. Here, she speaks to British artist Antonia Showering about her inspirations, technique and the London art scene

As is so often the case these days, I first discovered Antonia Showering’s work on Instagram. It was serendipitous to meet her in person not long after, at a lunch at Timothy Taylor gallery. We sat right across from each other and found out that we happen to be neighbours in North London.

Antonia’s paintings are contemporary yet classical – Les Nabis, a group of young French painters working in the late 19th century who played a key role in transitioning from Impressionism to Symbolism and later, to Abstraction, are one of her key sources of inspiration.

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To me, Antonia’s work feels symbolist in the way she expresses emotion rather than representing specific events. At the same time, her paintings tend to be based on lived experiences and real encounters while her abstract use of colour is sometimes reminiscent of Etel Adnan.

Ahead of a solo exhibition with Timothy Taylor gallery next year, I visited her East London studio (which is, coincidentally, opposite Sofia Mitsola’s studio whom I interviewed earlier this year) to view her latest works and discuss her process.

LUX: To me, your work feels like it’s embedded in classical painting as your subjects are quite traditional: landscapes, people and sometimes, dogs. What period of art history is most inspiring to you?
Antonia Showering: From a young age I have repeatedly painted significant figures inhabiting personal landscapes, but I can see what you mean about there being a classical element to the chosen imagery in my work, especially with the recurring motif of water and people bathing although this is perhaps more closely linked to how I feel adults behave when they are in water: they bob and splash around in a playful, clumsy, almost childlike way. It feels as if lakes, ponds and rivers are spaces where we are allowed to become infants again, even if just for a moment. Les Nabis are a group from the late 1800s who depict people bathing beautifully. I really enjoy the way these artists handled colour and how the human figure was simplified.

Antonia Showering, We Stray, 2020. Photo © White Cube (Ollie Hammick)

LUX: Who are your favourite artists?
Antonia Showering: There are so many! Piero della Francesca for his depiction of the face; Edward Munch for his timeless, transcending handling of emotion; Leonor Fini for her exploration of fantasy; Andrew Wyeth for his narratives; and Alice Neel for how she captured relationships between sitters as well as more contemporary painters like Hurvin Anderson, Tracey Emin, Tim Stoner, Lynette Yiadom-Boakye, Celia Paul and Chantal Joffe.

Read more: In conversation with the world’s most expensive living artist Jeff Koons

LUX: Let’s talk about your own cultural heritage. What’s your background?
Antonia Showering: The majority of my childhood was spent in Somerset where my father’s family are from, while my mother’s parents lived in London – they played a huge role in my discovery of art. My Swiss grandmother was a history of art teacher for many years and she married my grandfather, who’s Chinese, in the 1960s. He was an architect and a phenomenal draughtsman who taught me how to draw. I have many memories visiting them as a child – their house was very minimal with no clutter and definitely no toys, so I would occupy myself by drawing families, cutting them out and playing with them. I really enjoyed creating these new worlds where the possibilities within them were endless.

Antonia’s studio in East London

LUX: What do you want to express through your work?
Antonia Showering: I want my paintings to capture the mood of transitory moments where trauma, worries and hopeful possibilities can coexist in one moment or image. I see the canvas as a physical space where feelings of belonging or displacement, love or loneliness, intergenerational memory, superstitions and regrets can be turned into something visual and shared with the viewer. Giving exact details of who the characters in my paintings are and what the objects included mean is something I try to avoid because it prevents ambiguity and often the meaning of the painting can shift and adopt new connotations over time. I also find other people’s interpretations of my work interesting and important. It reminds me of when several people recall an event and how much they all differ from one another; this slippage of memory is fascinating and a big part of my work.

Antonia Showering, Je t’aime, 2018

LUX: Who are the people in your paintings?
Antonia Showering: They are almost always people I know. Sometimes I only learn who the characters in my paintings are months after making the work. However, as mentioned in my previous answer, I think it is important for me to not to be too direct in saying “This is a painting of my younger brother holding his daughter” because it closes off the image to the viewer. A parent holding a child is a universal motif and one at some point in our lives we may have observed and taken away something from a comparable moment. Although my works are dealing with significant personal recollections, fears or imaginings once the painting begins to develop it becomes its own entity and holds a new meaning for both me and the person viewing the work.

Read more: Sophie Neuendorf on New Wave Collecting

LUX: Can you tell me a bit about your painting process?
Antonia Showering: My paintings go through quite a few different stages. After I stretch the canvas, I lay it flat on the floor and add a layer of distemper (sizer with white pigment). This is poured, dripped and applied very automatically and once this dries I used these initial marks to direct me to the first of many compositions. The paintings often begin as abstract images where I am solely focusing on colour relationships and marks. It isn’t until later that I focus on the figures that populate these spaces and their own relationships. I want to try to build atmospheres within the landscapes or domestic settings.

LUX: How do you decide when a painting is finished?
Antonia Showering: I wish I was someone who confidently daubs their final mark and stands back and says, “Yes, that’s finished” but in reality, I am a lot more hesitant. As the painting draws to an end, I have noticed the speed at which marks are added dramatically slows down. I know a painting is finished because the feeling I wanted to make visual is there in front of me, but I will still spend hours debating whether a thin, barely noticeable mark needs to stay or go. I think this is because a part of me enjoyed the journey and challenges of making the work so much that when I finally arrive at the finishing point there is a small feeling of attachment as well as relief.

LUX: Do you listen to music or podcasts while you paint?
Antonia Showering: I almost always listen to music – I find podcasts a little distracting. A song I have been binging on recently is called ‘Dance With Me’ by Deux.

Antonia Showering, Be You, 2019. Photo © Choi and Lager

LUX: Who is your London peer group? You mentioned to me before that you have critiquing sessions?
Antonia Showering: I studied art in London for seven years and over that time, I have built lots of special friendships with other artists and people in the art world. Before the pandemic a few of us had a crit group where we would visit each other’s studios and talk about new work. The group included Sofia Mitsola, Emma Fineman, Patrick Jones, Alvin Ong and Kostas Sklaventis. It is important to have a space to discuss our practices in that way because it can be very isolating spending all day and night in the studio!

I have also been in a couple of shows put on by Max Prus with Jack Killick and Hannah Bays. There are a lot of exciting people making work in London right now and I’m glad to be a part of it. Katy Hessel has become a close friend of mine and she organised a residency in Italy at Palazzo Monti in 2018 with Flora Yukhnovich and Kate Dunn whose paintings I admire. I also love the work of Diane Chappalley, Ben Jamie, Laurence Owen and too many others to mention.

Find out more: antoniashowering.co.uk

The Autumn/Winter 2021 issue with logo design by Jeff Koons

For our Autumn/Winter 2021 issue, we asked award-winning photographer David Taggart to capture Jeff Koons in a way that he’d never been photographed before. The portraits he produced are intimate and raw, revealing the man behind the world’s most expensive and controversial artist. Here, Taggart gives us an insight into the shoot, Koons’ studio and their conversations. All photography by David Taggart

1. What was your vision for the shoot?

To try and capture Jeff Koons in a way no other photographer had. Focus on authenticity. My style is very intimate and revealing. I wanted to try and capture Jeff in this style. When I got the studio and was setting up, I asked Jeff if he had seen my work. He said, yes. I asked if he was comfortable being portrayed in this style. He said, yes and that he was looking forward to the interpretation in my style.

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2. What is the Jeff Koons studio like?

Big. Lots of space. Lots of light. There is nothing intimate about his studio. It is a place where big productions occur. There were 20 – 30 assistants and others around.

Koons photographed in his Manhattan studio in 2021 with a work in progress.

3. Did you have a preconception of what Koons might be like before you met him, and how did that compare to the reality?

My perception of Koons was that he was stiff, and very concerned about his public image, which was mainly down to existing photographs/portraits of him. To some extent this was true, however, I believe that I was able to work with him to convince him that he should let me photograph him as if we was in his everyday mode in the studio. He was quite personable, clearly intelligent and relaxed and engaging throughout the session. No pretence.

Read more: How Durjoy Rahman’s art foundation supports cultural collaboration

4. How was the conversation?

Jeff’s first comment when I walked in the door was, “Are there more crew coming?” He was surprised and then, I think, impressed that it was just me, the camera and natural light. He said the last time someone photographed him like that was Helmut Newton, without flash, fill lighting or other equipment. Just a camera and light.

We spoke about his unfinished, and up and coming pieces. We spoke about what inspires him.

I am managing the restoration and programming of a Federal monument, so we spoke a lot about history. He told me about his farm in Pennsylvania and how it had been in his family for generations. We debated where American democracy was born (Philadelphia vs. NY). He also took an interest in my upcoming photographic series, Frames of Humanity.

5. As the world’s most expensive living artist, Koons is used to having his portrait taken but the image we’ve used on the cover presents him in a more relaxed state, without a suit or any of his usual glamour. How did that particular shot come about?

When I arrived his assistants had a linen jacket in a suit bag and shoes laid out for him. I asked if I could photograph him in a different way, the way he would be if he were working in the studio without a photographer present. After a moment of hesitation, he agreed. I believe that walking in the studio with no lights or heavy equipment and getting him to work with me in finding the right light, made a difference. He even commented this to me. I also was able to engage him: keep him talking about topics of interest throughout the shoot. We had more of a conversation than a photoshoot.

6. Did you connect, artist to artist?

When I walked into the studio I let Jeff know that I was not a “commercial” photographer, that my style is much more documentary with an artistic twist. I believe he respected that. We spoke about the creative process. What inspires him as an artist, and what inspires me. I believe the fact that I have other professional interests outside of photography (photography is more of a vocation than an occupation for me) intrigued him: that I do this for the love of the craft. I think by asking or engaging Jeff about his creative process, use of materials, colours, scale and other elements is what caused him to fell like we were two artists conversing versus a photographer shooting him.

eyeoftaggart.com

The Autumn/Winter 2021 issue is on sale now, globally.

Utsava Kasera is a next-gen portfolio entrepreneur who has put his faith in his latest investment: a premium Prosecco, aimed at shaking up the drink market in the UK and US. The Indian-born, UK-educated citizen of the world speaks to Anna Tyzack about his business portfolio across tech, fashion and hospitality, and his new direction in sustainability

Portrait photography by Charlie Gray

It was Phantom, Mandrake and Tintin comics, or rather the lack of them in India, that drove Utsava Kasera to start his first business at the age of 12. His group of friends were as obsessed with comics as he was, and as there weren’t many available locally, he started a small library. “When my father travelled to the big cities like Delhi and Bombay [Mumbai], he’d bring one back for me; if I did well in my exams, he might bring back two, and I’d rent them out to my friends,” he explains. “The library was a good lesson in entrepreneurship: where demand exceeds supply, there is always the chance to start an exciting business.”

It is this entrepreneurial spirit that has driven him towards his venture, an intriguing attempt to shake up the drinks market. While prestige champagnes have proliferated, and the market for the cheaper Italian sparkling wine, prosecco, has expanded, there has been no crossover between the two categories. Until now: Kasera has invested in a premium prosecco as a rival to champagne.

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The rollout of Ombra Di Pantera is now being driven in the UK. “The UK is one of the biggest markets for prosecco – more people drink it than champagne. And yet there are few luxury options, few competitors to grande marque, non-vintage champagnes like Moët et Chandon or Veuve Clicquot,” he says.

Ombra Di Pantera is the answer to this gap in the market – it’s the finest quality prosecco and will soon be available online and then in a select number of London’s bars and restaurants. “Our vineyards produce the most refined Glera grapes, used in the best proseccos, and the family in charge is passionate about production and cultivating and harvesting the grapes, and they have passed this passion and their techniques down through the generations,” he explains. The name pays homage to the Venetian term for prosecco, ombra de vin, ‘wine’s shadow’ – it is said that in ancient times the traders in Piazza San Marco kept the wine cool by storing it in the shadow of the Campanile. “Prosecco is faster to produce than champagne and it is drunk when it’s younger, but the best ones are exceptional,” Kasera says. “I’ve learnt from whisky that age doesn’t necessarily define the quality – it’s about the vintage and the methods of production.”

The winery at Conegliano Valdobbiadene, Veneto

As with all Kasera’s investments and business ventures, the opportunity to create Ombra Di Pantera was a case of right place, right time. He was introduced to the Italian family who had been cultivating the beautiful Ombra Di Pantera vineyards for many generations and he immediately saw the potential. He had similar good fortune, he says, when he met Kevin Pietersen for coffee and soon signed up to invest in the cricketer’s ethical fashion label, SORAI, set up to preserve and protect endangered species; and when he met the founders of the Singapore private members club, 1880, in which he is now an investor and advisor.

Read more: Olivia Muniak on how collective dining brings us together

Kasera says his own father drilled into him early on that you make your own luck in life. From nothing his father built up a successful chemical company supplying the chemicals to manufacturers of a detergent that is now a well-known name in northern and eastern India, a market of hundreds of millions of consumers. As a boy, Kasera used to love hearing his father talk about his world travels and the people he met along the way. “In 1972 he flew to Afghanistan and hitchhiked to the Munich Olympics; in Munich he met a guy on a bus who he stayed with for the next three months; they stayed in touch and that same guy went to my sister’s wedding in India,” he says. “It’s stories like these that showed me how small the world is if you take the time to explore it. I knew from the start that a 9-to-5 job wasn’t going to be for me.”

At school Kasera was a sports star, being the city captain for table tennis and a keen cricketer. After graduating from university in Delhi, he studied at the London School of Economics and gained a master’s in international business and emerging markets at the University of Edinburgh. “It was overwhelming at first – the language, the curriculum and the different culture – but it was good experience for me; there were people from 26 countries in my class.” Along with gaining his master’s he made a cosmopolitan network of friends and learnt to appreciate whisky and cognac. He was recently listed on the University of Edinburgh’s Alumni 100, a showcase of its Business School’s most inspiring former students and is also now an advisor to the British Council’s Creative Spark Higher Education Enterprise Programme. “It’s great to be able to help motivate young potential entrepreneurs to realise their potential,” he says.

His main investment focuses are now tech, luxury and environmentally sustainable solutions; in 2011 he worked on a sustainability project in the chemical industry in Switzerland and Germany, fostering in him an interest in renewable energy. “It’s been a process of learning as I go along,” he says. “I’ve made some bad investments that didn’t turn out as I hoped but I’ve got a good feel for it now – it’s so rewarding when things go well.”

The vineyard where the Glera grapes for Ombra Di Pantera are grown.

The entrepreneurial landscape has opened up dramatically since he left Edinburgh, he continues, largely due to social media. When used intelligently, social networking platforms break down so many boundaries, he says, allowing entrepreneurs and investors to reach a huge audience without expense. “It enables things to happen out of the blue; it brings people and opportunities together,” he says.

Read more: Pomellato’s Kintsugi collection imagines a more sustainable jewellery industry

Some of the truly unique opportunities, however, are still found away from social media and screens, he says – the bourbon whisky that he discovered in Austin, Texas through word of mouth, for example, and the Pinot Noir he tried in Armenia that he says would rival a good red Burgundy. For entrepreneurial inspiration, Kasera thus aims to explore five new countries a year; so far this year he’s visited Armenia, the Seychelles and Northern Ireland and Georgia. He also reads extensively and makes a point of expanding his network wherever he is in the world, often choosing to stay in Airbnb accommodation or with friends rather than checking in to a hotel.

Unsurprisingly, the pandemic put a damper on his travels. While this was frustrating in many ways, forcing him to put investment and philanthropic plans on hold, the time at home helped him gain new perspective. “I like to be busy; I found myself spending a lot of time thinking about what I’m going to do in the future, what’s on the horizon,” he says. “I read the Difficulty of Being Good by Gurcharan Das, which is a secular reading of the great epic, Mahabharata. It relates so much to modern times, which I found very inspiring.” He also taught himself to cook, perfecting Indian-style scrambled eggs with coriander, spices and tomato, and, with Ombra Di Pantera in mind, completed a WSET level 1 online wine course.

As the world opens up again, Kasera is looking forward to Ombra Di Pantera’s unveiling in New York City, where he aspires to open a prosecco bar to give more people the chance to sample fine prosecco. “I hope it will be a brand ambassador for Ombra Di Pantera as well as hosting small pairing lunches and dinners,” he says. “I’d like to see Ombra Di Pantera inspiring a whole new area of luxury proseccos.”

What’s also sure is that it’s impossible to tell what sector new generation entrepreneurs like Kasera will be investing in. Sector-agnostic, and symbolic of his generation, truly global, he looks for opportunities that expand and stretch the luxury sector, increasingly with sustainability in mind. He remains tight-lipped about his next ventures, but I suspect they will be increasingly impactful in the new world of luxury.

The premium Prosecco

Ombra Di Pantera’s Prosecco Superiore Brut Millesimato DOCG aims to conquer the hearts of aficionados of champagne and other high-end sparkling wines, who may not previously have considered a prosecco. The Glera grapes that go into this wine are grown in the foothills of the Alps north of Venice, in an area with sunny days and cool nights. This gives a balance of ripeness and freshness. The result of hand-harvesting, careful selection of grapes and a personalised winemaking process is a sparkling wine that is creamy and light.

My favourite indulgence

“Depending on the time of day and the mood, it’ll either be a whisky or a cognac. As a ritual before dinner with friends, or if I’m admiring a view, I’ll drink a glass of Louis XIII 100-year-old cognac. It never fails to get me in the right mood. Whisky is a passion I share with my friends; we taste it together, we collect it and we exchange notes.”

Find out more: ombradipantera.com

Thank you to Nobu Hotel London Portman Square for providing The Nobu Penthouse for our shoot. Styling by Grace Gilfeather; grooming by Brady Lea (Premier Hair and Make-up).

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

One of La Cura’s intimate supper clubs hosted by Olivia Muniak in Los Angeles

In her first column for LUX, Los Angeles-based chef and entrepreneur Olivia Muniak traces the historical and modern significance of coming together to drink and dine

Olivia Muniak

Gathering together to drink and dine has a long, primal tradition as a social glue of humanity. In Roman times, banqueting was an important social ritual involving extravagant menus with multiple courses, luxurious tableware, and diverse forms of entertainment. There were even civic feasts offered for all of the inhabitants of a city, often accommodating large numbers of diners.

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Of course, food or rather the lack of it has also given rise to revolutions. Marie Antoinette infamously uttered the phrase “Qu’ils mangent de la brioche” (“Let them eat cake”) on hearing that the peasants had no bread during one of the famines in France under the reign of her husband King Louis XVI. While it’s uncertain whether or not Marie Antoinette actually spoke these words, the phrase has acquired symbolic importance as an illustration of the upper classes’ ignorance, and the beginnings of the French Revolution.

If we look at religious holidays and the types of food that have been and continue to be served, we can also find connections with history. Lamb, for example, is served on Easter as a good omen, and is said to represent Christ while on Rosh Hashanah, the Jewish New Year, apples and honey signify hope for future.

All of that is that is to say: food does not influence culture, it mirrors it and provides an important insight into the evolution of humanity. A pivotal point in American culture, for example, was the advent of the TV dinner which represented a huge shift in the archetype of family and our modern world. In the early 1950s, millions of white women entered the work force meaning that mothers were no longer at home to cook elaborate meals and pre-made frozen dinners provided the perfect solution: all you had to do was pop them in the oven, and thirty minutes later the family could be eating a hot supper while enjoying the new national pastime: television.

In Italy, food, drink and socialising go hand in hand. An aperitivo (pre-meal drink) is a cultural ritual, signifying the end of the working day. The Milanese take their aperitivo so seriously that the slang term apericena came about as a description of when drinks spill over into dinner. In Spain and some Latin American countries, sobremesa is the tradition of relaxing at the table after a heavy meal to relax, digest and converse, and in Sweden, it’s considered essential to make time for fika, a short coffee break, every day. We Americans go for all of it: cocktails, fine dining, street food, food trucks, coffee shops. We love a reason to get together with friends and indulge. The point is: humans have an appetite for good food and good company.

In 2019, I founded La Cura, a sustainable catering and event production company, based on that principle, but also because I was yearning for experiences that supported meaningful connection. I had recently moved to Los Angeles from New York and was eager to build a sense of community, and so it began, as a supper club in my backyard. I sold tickets to multi-course, family style meals. The first event was 32 guests, all different ages and from diverse backgrounds, crammed around one table. Guests had to pass platters of food to one another, share bottles of wine and the warmth of these very ordinary gestures created fast bonds between perfect strangers. The best story I heard from one of those events is that two guests (who both randomly ended up getting a ticket because a friend couldn’t go) began a podcast together.

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

Over the last year or so, we have been starved of this simple, sensory act of gathering over food and drink. Instead, we met across screens – on Zoom, Facebook and Whatsapp – or hosted the same small circle of friends or family. When it became safe and socially acceptable to gather again, my company was booking a month plus in advance for brand events and dinners centred mainly around intimate dinners, which provided an escape from the ordinary. And this trend is only set to continue with many people hosting their own dinner parties having honed their cooking skills and invested in tableware over the various periods of lockdown. Alongside my company, which curates the menu and the evening, there are many consumer facing tabletop rental companies such as Social Studies which make it easier to throw larger events or themed parties within the comfort of your own home.

These kinds of social acts are good for us: they break up our days, increase productivity, provide a space for us to unwind, relax and have fun. They add colour and depth to our lives, and now, in the wake of the pandemic, meeting for a drink or meal has become more meaningful than ever. What this time has taught us is that food and drink is what binds us. It connects us to our personal memories, a sense of self, as well as to our cultural histories and traditions. I have a childhood friend, whose mother makes a marble cake for every birthday celebration and every time I see a marble cake, I think of both her birthday and my family’s restaurant, where is also served it by the slice. Wherever I am in the world, it brings me a sense of comfort and nostalgia.

No matter our background or culture, the act of eating and drinking together is something we all share. It’s a basic human need and a communal pleasure. More importantly, in this hard-to-predict time, the ritual of dining and drinking brings a sense of grounding and normality to our lives.

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