Stephan Winkelmann assumed the role of Chairman and CEO of Lamborghini on December 1, 2020, succeeding Stefano Domenicali.

Under CEO Stephan Winkelmann, Lamborghini has transformed from a sports-car brand with its glory days behind it to an outrageous dream for kids and adults around the world. He tells LUX how he implemented his vision – and what lies ahead as the company’s famously vocal petrol engines become replaced by electric motors

LUX: When you started as Lamborghini CEO, what was your vision and have you achieved it?

Stephan Winkelmann: I started in January 2005, and at that time I knew very little about Lamborghini, so for me it was important to do a quick assessment of the state of the brand and the company.

After I understood about it more, it was vital to give a crystal-clear message to the fans and customers to position Lamborghini as a niche brand. It was about being uncompromising, extreme and Italian.

And then we focused on having the two models [recently joined by a third] to exploit all the capabilities of the chassis and the engine. These were the most important things to achieve. And we’ve achieved them, because the brand has made a huge step in the past almost two decades. The team has done a fantastic job.

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LUX: The world has changed a lot in that time. How has Lamborghini had to change?

SW: A brand is constantly moving – there is no standing still, the adaptation is continuous. Now we are in a phase where the car industry is changing dramatically, and for super sportscar manufacturers this change is even more complex because one end is design, which is the easier part, but the other is performance.

And for us, performance is something we have to continue not only to promise, but to overachieve. Nowadays, there’s also a new dimension, which is sustainability. So we are hybridising all the line-up.

There is the new Revuelto – a hybrid, a complete new Huracán, and Urus is going to be a plug-in hybrid. After that, we will think about how to come to the end of the decade with our first fully electric car.

Man in a suit with cars behind him

Stephan Winkelmann has taken the Lamborghini bull by the horns, transforming quality and trust in the brand while reinforcing its image as the wildest and most flamboyant maker of supercars, and extending its reach into gaming. He has introduced a luxury SUV (the Urus, in orange, above).

LUX: We can see how you can create design and performance in an electric car, but how do you create Lamborghini passion?

SW: Passion is the design and performance. What is changing is the sound. You have two types of performance: one is acceleration and top speed, which is nice to have, but everybody can have something like this.

For me, the next thing for electric cars or hybrid cars is the second type of performance: the handling behaviour.

LUX: Since you started, the proportion of the world’s super wealthy has increased and we see a new super-luxury sector across every industry. Is there more demand now for bespoke and nearly-bespoke multimilliondollar cars?

SW: We have been doing these for at least 15 years, and they are split into what we call “few-offs” and “one-offs”.

The few-offs cost more than €2 million and the one-offs are €5-6 million for the time being. So, yes, the customers are always looking for more and for something special.

Purple metallic car

He has introduced highly limited-edition models that sell for millions – like the contemporary reworking of the legendary classic Countach (in purple, above).

LUX: Is there a danger that in 20 years’ time, the market will be more generic because of a lack of distinctiveness around engines?

SW: I don’t think so, because the engine is just one brick in the wall. What we do best is to have the Lamborghini DNA in every car and in the emotional part of the driving experience. We have to maintain this.

“FOR US, PERFORMANCE IS SOMETHING WE HAVE TO CONTINUE NOT ONLY TO PROMISE, BUT TO OVERACHIEVE”

Man in a suit with a red car

He also has created more accessible road racers to rival everyday Ferraris, such as the Huracán STO (in red, above).

LUX: Lamborghinis come in all kinds of interesting colours. What’s your favourite?

SW: For the Huracán, my favourites are the dark matte colours.

LUX: What is Lamborghini doing outside designing cars?

SW: We have a licensing department, we are doing real estate, we have a licence with watches, we have partners like Lego, we have video games, we have boats, we’ve done NFTs.

Read more: Car collector king Fritz Burkard on his Pearl Collection

LUX: Is a Lamborghini a dream?

SW: Yes, usually it’s a dream purchase come true, maybe because you had posters on your wall as a child, or, for the new generation, gaming – appearance in games is important.

LUX: Lamborghinis still seem to appeal across generations and sexes. Why?

SW: The shape of the cars are so recognisable; they are comparable with fighter jets. And on social media our presence is so significant.

We take care of our customers, but it is equally important that everybody who sees a Lamborghini or who is in contact with a Lamborghini gives a thumbs-up. Nobody should be left behind.

lamborghini.com

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Arnaud de Lummen is specialized in reactivating the cultural capital of luxury brands and carving out compelling creative revival platforms

Arnaud de Lummen is the founder and Managing Director of Luvanis, a leader in reviving dormant heritage brands, and a Partner at TLF Ventures, which invests in visionary entrepreneurs shaping the future of luxury tech. He speaks to LUX about the brand revivals, new names and luxury concepts attracting him now

Jacques Doucet by Invisible Collection

Invisible Collection sells beautiful furniture pieces and decorative objects from top interior designers, and also champions sustainable design by promoting local production and heritage with a made-to- order model. I will watch closely the upcoming collection honouring the French fashion designer and art collector Jacques Doucet, who died in 1929, which Invisible Collection will exclusively introduce and distribute.

theinvisiblecollection.com

The pieces of furniture the brand selects reflect the best work conceived by great artists and designers around the world today, all handpicked for their relevance and uniqueness

Au Départ

After a long dormancy, this historical Parisian trunk-maker, founded in 1834 and a favourite of French writer and pioneering aviator Antoine de Saint-Exupéry, will open its first new flagship store on rue du Faubourg Saint-Honoré, near Hermès, in the autumn of 2024. It promises to be the perfect point of departure.

uk.audepart.com

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Designed out of the geometrical form of a parallelepiped inspired by the floors of the ruins of Pompeii, the Au Départ monogram was created. Also, to distinguish themselves from all the other trunk-makers

Vever

A sleeping-beauty jeweller founded in 1821, the recently revived house of Vever now uses only recycled gold and lab-grown diamonds. For me, its new Ginkgo three-flowers earring, which can also be worn as a single flower earring, perfectly embodies
the traditional values of artistic innovation, know-how and quality craftsmanship associated with this iconic French house.

vever.com

It all began 200 years ago, when Pierre-Paul Vever founded the Maison in Metz and created his first jewel there

Maison J.U.S

Founded by three passionate peers who disrupted the fragrance industry by unveiling the formulas of their perfumes, Maison J.U.S provides a distinctive sensory experience through colourful, eco-friendly, 100 per cent French and, above all, highly creative perfumes. One fragrance that stands out to me for its unique notes, which include mandarin, cedar and ambergris, is Andaluiza.

jusparfums.com

Read more: The future of philanthropy, with UBS

The parfumes are colourful, environmentally and 100% french made

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Frédéric Rouzaud, Maria Sukkar and Darius Sanai

LUX and Louis Roederer co-hosted an event for collectors of art, design and champagne where Frédéric Rouzaud, Maria Sukkar and Darius Sanai had a lively panel discussion about art, sustainability and responsibility. Some rare and celebrated champagnes from the Maison were served, including Cristal Vinotheque Rose 2002 and Cristal Vinotheque 1996, from magnum

Frédéric Rouzaud, Darius Sanai and Maria Sukkar

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Alexandra Tilling, Richard Billett, Samantha Welsh, Lorna Mourad, Malek Sukkar, Ege Gürmeriçliler, Nadim Mourad

Read more: Louis Roederer Photography Prize for Sustainability

Philippe Starck designed the label for Roederer’s zero added sugar Brut Nature

Maria Sukkar, Jennifer Boghossian, Lorna Mourad, Malek Sukkar and Rob Boghossian

Anne Pierre d’Albis Ganem, Ege Gürmeriçliler, Samantha Welsh and Maria Sukkar

Frédéric Rouzaud, Darius Sanai and Maria Sukkar

Louis Roederer’s cristal rosé

www.louis-roederer.com

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Fritz Burkard, a Swiss car collector, is renowned for his collection of vintage cars, called the Pearl Collection

Back in August, Fritz Burkard made waves when his Bugatti Type 59 won the celebrated Pebble Beach Best of Show. The swiss car collector speaks with Fabienne Amez-Droz about his idea to open a new private museum in Switzerland to see his cars, and the roots of his passion

LUX: How long have you been passionate about vintage cars, and when did you start with the Pearl Collection?

Fritz Burkard: I bought my first classic car when I was twenty. It was a 1967 Chevrolet Camaro, and I got it for 4,000 Swiss francs at the time. That car means a lot to me. I still have it, and next week I’m getting it fully restored from the ground up.

For the first time in the history of the Pebble Beach Concours d’élégance, Best of Show was awarded to a preservation car—a Bugatti Type 59

LUX: How do you decide which cars to add to your collection, given that it has such a variety of different cars? (Very original, very dramatic and very beautiful)

FB: I don’t see much of a difference between buying a car and buying art. Cars, especially vintage ones, are pure art to me. I don’t follow a specific plan or checklist when adding cars to my collection; I go with my gut feeling.

Sometimes, I come across beautiful cars, but if I don’t feel a strong emotional connection, I won’t buy them. Essentially, I’ve gathered cars that I personally like, which makes my collection a diverse patchwork. That’s what makes it interesting. If you have a collection filled with just supercars, you start to lose the individuality of each car. But with contrast, each car stands out for its uniqueness. I’m also only interested in original cars.

LUX: How many cars are in the collection?

FB: There are about 80 to 90 cars in total.

The Bugatti was one of 214 cars from 16 countries and 29 states that competed at Pebble Beach, California

LUX: Is it important how the cars are arranged in the space?

FB: Definitely. We’ve just moved all the cars into the space, which we’ve been planning for two years. I didn’t have a clear plan initially, but there’s an area where I always wanted to do something special.

We’re still moving cars around because sometimes the combinations don’t work. I listen to my gut feeling because the collection is for me more than anyone else.

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LUX: Will the collection be seen by friends only or will interested car fans or collectors be able to have a look at it aswell?

FB: I want the collection to be accessible to everyone, especially children, so they can experience and fall in love with these types of cars. Right now, it’s more of a private space, but at a later stage, people will be able to book tours via a website.

It’ll be a limited number of people, as I want it to be an experience where they can open the cars and even sit in them. I want to avoid chaos, especially since it’s so close to my living space. There will be a driveway in the middle, so each car can be taken out and driven.

Despite these successes, for Fritz the vehicles are more than mere acquisitions – he believes that a love of such machinery comes from the heart and the most important thing in a car is your smile

LUX: What is one of your favourite cars in your collection?

FB: Not really. I have a handful of favourite ones depending on the memories they’ve created for me and my daughters. For example, my Chevrolet Camaro isn’t a show-stopper, but for my university friends and me, it holds a lot of meaning. We can’t wait to take a road trip and feel like we’re 22 again. That’s what it’s all about.

LUX: What is the most important thing in a car to you?

FB: For me, the most important thing is what I call the “Smile-o-meter.” It doesn’t have a brand, year, or price tag—it just makes you happy. That’s what driving should be about—having fun and feeling happiness with the people important to you.

LUX: What are your thoughts on supercars?

FB: I do have modern cars, especially modern Bugattis. They are breathtaking and unmatched by any other brand. However, if I had to choose between a modern and a classic Bugatti for a tour, it would always be the classic one.

The driving experience is more exciting—you become part of the machine. Modern Bugattis, on the other hand, feel like comfortable beasts. The era of pure performance is over for me. Today, what matters is the experience, comfort, luxury, details, and design.

For example, ETH Zurich built a car that accelerates from 0 to 60 km/h in 0.8 seconds. Do we really need that? What excites me more are cars that offer a complete experience.

Read more: The new Mercedes-Maybach SL luxury sports car

LUX: What do you think of the designs of modern hypercars?

FB: Many modern hypercar designs don’t convince me, though I can appreciate them for what they are. Bugatti, with its new models, is still breathtaking—simple and smooth. Other brands, like Pagani, don’t hit my taste, but they still make bold design statements that appeal to others.

That’s perfectly fine. There are many different ways to approach design, and that diversity is what makes the industry fun. The passion people have for classic cars is something I really appreciate, but I’m less fond of being around pure investors, as they miss the point.

The Pearl Collection is known for using its vehicles enthusiastically, rather than just leaving them on static display

LUX: Can you share the history of this particular Bugatti you won the Pebble Beach with? How did you acquire it?

FB: I acquired the car during COVID at an auction. It was born in 1934 for the Grand Prix and originally painted blue. It won a Grand Prix and placed third in Monaco with René Dreyfus, who later became a French Resistance hero.

King Leopold of Belgium then bought it, and it was repainted black with a yellow stripe, Belgium’s racing colors. It changed hands several times, but nobody ever restored it—they just kept it running. That’s the secret to preservation: always keep the car running.

When we got it, we discovered the original Bugatti license plate under the black paint. We restored it to its 1937 condition, as it was when King Leopold bought it. I drove it every morning at Pebble Beach for two to three hours along the Pacific coastline.

Even on the morning of the Concours, I took it out. To me, that’s what a car is made for—not just to look at, but to drive, feel, and experience.

Burkard is planning to make his Pearl Collection even more approachable to car enthusiasts by setting up a showroom in Zug where you can schedule appointments to see the cars

LUX: How did it feel to win Pebble Beach as the first European, and especially Swiss, person?

FB: It was overwhelming. For 73 years, only Americans and Asians had won, so I was thrilled that a preservation car and a Bugatti won, especially this Bugatti, one of the most successful racing Bugattis of the 1930s.

There’s a funny story behind it. After the show, we were initially sent off to our parking spot, and we were happy, thinking we had won in our segment. But then they called us back, “Fritz Burkhard, please return to the stage!”

We were in a panic, almost packed up to leave! Standing there as one of the final four, with my friend Philipp Sarasin also nominated, was surreal. When they announced the win, I completely lost it. I knew what it meant for me, the car, and for Pebble Beach: the first European car to win, and a preservation car at that. It was a huge moment!

 

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woman

Aubain – dancer, yogi, community leader and refugee – takes a break in Nakivale refugee settlement, Uganda, April 2018; photographed by Nachson Mimran

As the number of high net worth individuals increases, the philanthropic sector funded by their wealth has expanded. But is philanthropy genuinely effective and useful? In this feature, LUX speaks to some of the leading players to establish how the future of the sector is – and should be – shaping up, and discovers the pitfalls to avoid

In 2018, Rob Reich, Professor of Political Science at Stanford University in the US, shook the world of philanthropy with his book, Just Giving. In it, he claimed that the world of philanthropy was failing democracy, particularly in the US.

Many philanthropists “were not giving away enough”, their foundations were opaque and they were not having the desired positive outcomes. Reich’s book stirred timely and impassioned debate in a global philanthropy sector that has grown in the past decades to be worth more than an estimated £182 billion (US$228 billion) by 2023, according to The National Philanthropic Trust.

But while some of his theses continue to have merit – in particular, questions about motivations for some philanthropic endeavour – it is also clear that much philanthropy has been evolving rapidly, becoming more efficient and focused on delivering transparent solutions to major issues that cannot or will not be solved either by purely public or purely private capital.

kis

Olena (26) with her children, Artem (8), Sofia (3), Oleksi (7) and Zlata (18months), who were taken away from Olena and put in an institution in Ukraine when Olena couldn’t afford to look after them. Social workers from Hope and Homes for CHildren (which is funded by charitable trusts and foundations including UBS Optimus Foundation) supported Olena to improve her financial situation and helped her get her children back home again

A fundamental starting point is to focus on achieving systemic rather than symptomatic change, says Tom Hall, UBS Global Head of Social Impact & Philanthropy. To do that most effectively, philanthropic and investment capital need to work together to create leverage around areas of fundamental global importance, such as climate, education and health.

“We have to be smart about how we allocate both philanthropic and investment capital, and we have to work in partnership with all of civil society to build the kind of economy that’s required to have sustainable pathways for people to prosper and for us to protect our planet,” he says.

These aims are encapsulated in the United Nations Sustainable Development Goals (SDGs) and, while some may take issue with the United Nations and the concept of SDGs in general, there is little room for doubt that addressing the focal points highlighted by these 17 goals is fundamental to global health and wealth in the future. At the heart of it all is sustainability, which means ensuring a healthy planet and an equitable future for all people on it.

Footballer Patrice Evra, seen through Extreme E tyre, Neom, Saudi Arabia, March 2023; photographed by Nachson Mimran

Every endeavour must be approached through this lens, including philanthropy. In addressing this point, philanthropy has to become bolder: this means doing the research, taking risks, measuring results and leveraging both its capital and its connections with private and public capital.

And, as we will see, it is starting to do so. Keys to this approach are blended finance and social-impact enterprises, which can both leverage and catalyse philanthropic capital in ways that traditional grant-making cannot.

For example, UBS Optimus Foundation and Bridges Outcomes Partnerships, a specialist non-profit, has developed the SDG Outcomes initiative. This works with governments, corporates and other outcomes funders to design, support and deliver SDG-aligned projects in low- and middle-income countries, particularly across Africa and Asia.

It uses an innovative blended-finance structure that sees UBS Optimus, funded by donations from over 30 UBS clients, providing 20 per cent first-loss capital to unlock further impact-driven capital. Any philanthropic funding returns are recycled into future projects.

SDG-linked themes are resoundingly supported by many of the new generations of philanthropists, such as Nachson Mimran, an entrepreneur, philanthropist and creative based in Switzerland. “I felt a shift in the conversations I was having with friends around dinner tables in about 2016.

People started asking questions about sustainability, climate change, poverty and global migration in the context of corporate social responsibility,” he says. “This happened to be around the time the UN launched its 17 Sustainable Development Goals.

A year earlier, my brother Arieh and I had already launched to.org – a platform operating in venture capital, philanthropy and the creative space, focused on accelerating solutions to Earth’s most pressing challenges – and we were excited that collective attention was turning in a similar direction.

“I believe,” he continues, “that Millennials and Gen Z are having these conversations and beginning to think about integrating philanthropy into business much earlier in life than previous generations.

My personal belief is that the most successful businesses of the future will be those that choose to respond directly to several – and not just one – of the 17 SDGs.”

Different perspective, similar approach: James Chen is Chair of the Hong Kong-based Chen Yet-Sen Family Foundation, and espouses a risk-taking approach for philanthropic capital, which can then leverage the reach of international organisations.

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kids

Rohyinga children, Kutupalong refugee settlement, Bangladesh, December 2017; photographed by Nachson Mimran

“Philanthropy has a storied history of success, and private donors have played a critical part in funding important social advances, both big and small,” says Chen. “But some of today’s global challenges need a different approach, one that requires time, expertise and investing in risk-taking entrepreneurial ideas.

It is an approach that I and others call ‘moonshot philanthropy’. Drawing on President John F Kennedy’s ambition to put a man on the moon, it is about more than just donating money; it’s about making a philanthropic investment in an ambitious venture that has the potential to catalyse system change.”

Noting that 2.2 billion people around the world are affected by poor vision, which adversely affects their education, health, work opportunities and gender equality, as well as productivity, Chen launched his Clearly campaign in 2016, backed by his family’s philanthropic capital, because, he says, philanthropic capital can afford to take a risk to lose capital where organisations like the World Bank and USAID can not, due to their strict accountability rules.

As well as funding technology and campaigns in developing countries, which have led to millions having consistent access to eyeglasses from childhood, Chen was a key mover behind the United Nations resolution, passed in 2021 and adopted by all 193 member countries, to ensure affordable eyecare for all by 2030.

Professional leadership and creating connections between the philanthropic sector and the private and public sectors is critical, according to Maya Ziswiler, CEO of UBS Optimus Foundation. “More and more philanthropists are telling us that having a passion for doing good is not enough and that they want to see measurable outcomes based on their action,” she says. “How can you take advantage of your passion with rational thinking to ensure you’re actually having an impact, and working with others to maximise that impact?

The problem isn’t that there is a lack of money out there; it’s making sure that the money becomes accessible and that the capital is pooled to scale impact. “When we become involved in a programme,” she continues, “we always think, what are the routes to sustainability and scale?

There are two ways you can make sure a programme is sustainable and will continue after philanthropists decide to exit, and that is either that a government takes it over, or businesses take it over. Philanthropists need to make sure that they have the right understanding of how those systems work and then build those relationships.” UBS’s Hall agrees that the leveraging of relationships between the sectors, and in the way philanthropy works, is essential, if the funding gap for Sustainable Development Goals, currently in the trillions, is to be closed. Even with the dramatic growth in philanthropic capital, private giving alone will not be able to do it.

kid

Girl collaborating with to.org, creative activists in a street-art, project, Libreville, Gabon, November 2018; photographed by Nachson Mimran

There are few more seasoned hands in the worlds of philanthropy and proven and effective sustainability than Julie Packard. The multiaccolade ocean conservationist is Vice Chair of the David and Lucile Packard Foundation, and co-founder and Executive Director of the Monterey Bay Aquarium.

Her programmes, such as Seafood Watch and the Southeast Asia Fisheries and Aquaculture Initiative have been globally recognised game-changers for sustainability – across general education, consumption and the realignment of production to sustainable practices.

“Having served on the Packard Foundation board for 50 years now, I’ve seen a lot of change in philanthropy,” she says. “One is the natural trend to move from working on local-scale issues to global approaches, which focus on getting at the root causes of the problems we all aim to help solve. “Over time,” she adds, “our experience at the Packard Foundation has made it clear that we must be more equitable and inclusive in our relationships with the partners in whom we invest.

In the past, foundations – including ours – had a set of priorities, and we set out to find organisations whose own work matched those priorities. We’re working hard to get away from this top-down approach. Philanthropies are also, as we are doing, directing more funding to people and communities who have been historically excluded, so that they have seats at the table to design and implement solutions.

The philanthropic community has a lot to learn to shift our historical ways of working, so that all voices can be heard and we can best contribute to lasting positive change for all.

corals

Basket stars, seen at Monterey Bay Aquarium’s “Into the Deep” exhibition. Oceans produce the majority of the oxygen on the planet and life underwater is a massive carbon sink. Healthy oceans are essential for healthy and sustainable life on Earth

”Bringing private, public and philanthropic capital to work together through blended finance, social entrepreneurship and shared expertise, around conservation and sustainability, is a focus of the Prince Albert II of Monaco Foundation.

It organises numerous forums around the blue economy and finance; hosts the annual Monaco Ocean Week conference, which brings together investors, entrepreneurs, NGOs, the public sector and philanthropic capital; and launched the €100 million ReOcean Fund in 2023 to accelerate, build and mobilise capital around the ocean economy. “The challenge of progressing planetary health is only possible through collective effort,” says Olivier Wenden, CEO and Vice Chair of the Foundation’s board of directors.

“This is why the Foundation’s action is based on a holistic and collaborative approach of global environmental issues. We aim to unite scientists, political leaders, economic players and representatives of civil society to maximise our positive impact.” Wenden cites its Ocean Innovators Platform, launched two years ago, as “a good example of how collaboration can accelerate positive change.

Putting together innovators with philanthropists and investors in the same room is a very powerful way to scale-up solutions.” Leveraging is also about human capital and expertise done effectively and entrepreneurially.

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Pritzker Architecture Prize winner, Diébédo Francis Kéré, poses in front of The Throne, a portable toilet 3D printed using plastic medical waste, Switzerland, August 2021; photographed by Nachson Mimran

Read more: Alan Lau and Durjoy Rahman on the importance of art philanthropy

Ben Goldsmith, a British investor, conservationist and philanthropist, launched the Conservation Collective in 2020 from an existing conservation initiative. A hub and accelerator for conservation and sustainability action, it now encapsulates 20 independent philanthropic organisations around the world.

“Just as with venture capital, I have always thought that if every project is working, you’re probably not taking enough risk,” says Goldsmith. “All the challenges are the same as a startup; there are tremendous parallels between them. £1 of overhead at the umbrella charity creates around £12 for the underlying foundation. We’re not far away from having given away around £15 million and we’re also launching new foundations in Bermuda and Mauritius.

If you can create these local foundations, they become hubs of activity.” Agreeing with UBS’s Hall, Goldsmith says addressing root causes is fundamental. “There’s a tendency in environmental philanthropy to ‘provide service’. We don’t want to just fix things, we want to be funding groups who are striving to change the system.”

In terms of systemic change, Hall also speaks about the importance of addressing issues at their root, and overcoming built-in societal prejudices that can, for example, cause a black woman looking for startup capital for a social enterprise in Africa to be confronted with ruinous APR rates on a business loan. Mimran’s to.org funds significant social-impact investors in developing countries in Africa, with local expertise and global networks providing leverage and amplification that grant-making alone could never have provided.

Jessica Posner Odede knows all about creating lasting societal change in Africa. She is CEO of Girl Effect, a major international non-profit that works primarily in Africa and South Asia. Girl Effect uses media and technology to provide girls with tools that can change their lives, in terms of information, empowerment and education, in societies where women – half of the population – are deprived of opportunity, rights and the chance to play productive roles. Entrepreneurial thinking is essential for foundations, according to Odede.

“Look at consumer businesses,” she says. “You see millions of dollars and also time and energy spent on thinking about consumer journeys, marketing – how does somebody know their product or service? You would never launch a commercial venture without thinking through those user journeys, to see how to reach your customer. In philanthropy, there has been an assumption that people need certain things and will just use them.

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From the “Twilight’s Path” series by Jasper Goodall, whose images were shortlisted for the Photography Prize for Sustainability, created by UX in 2022. Investment in stewardship of land-based ecosystems contributes to biodiversity, which underpins sustainability

This has been a huge misconception and has resulted in a lot of ineffectiveness in terms of services utilised.” Odede says that in the African and South Asian countries that Girl Effect operates in, they ensure they know their end user. “We work very closely with health ministries, girls, parents and local health systems; we establish how you build diverse stakeholder collaboration in a way that is led by people designing the solutions who have also experienced the problems.”

So, was Stanford’s Rob Reich correct, back in 2018, to highlight how philanthropy was being challenged? He was, in some respects. But we can see how visionaries and effective players, old and new, are changing the game dramatically for the better.

As UBS’s Ziswiler says, “More and more we are seeing that billionaires see it as their responsibility to resolve global issues, and about 90 per cent of them are very serious about their philanthropy. But they are also realising that philanthropy alone can’t help us bridge the funding gap.

We have realised that philanthropy can be much more catalytic, it can take more risk, it can be more flexible.“The added benefit,” she says, “is that potentially money could be used more than once in a structure like that, because the potential for me to get my money back means I can redeploy it.

Not only is there more impact because more money is coming in and is being leveraged more effectively, there is also more impact because the money I was going to deploy once, I can now deploy again and again.” There are still caveats, though.

For example, there are no industry standard metrics to demonstrate effective and long-lasting causal change, which means measuring return on philanthropic investment utilises metrics and analyses that are often imperfect – even with the best intentions.

“The example of what good quality looks like here is in the health sector, where you need a clinical trial to bring your product and service to the market,’ says UBS’s Hall. “We don’t have that mandated in almost any other field.

It remains a challenge.” Like all of human endeavour, then, the world of philanthropy is flawed – but it is also irreplaceable and, through its recent evolutions, it is making an increasingly positive impact on the world by joining forces with other human creations. Humanity’s philanthropic journey will be long and potentially endless, but there is every reason, and an increasing amount of tools, to embark on it with the highest of rational expectations.

ubs.com

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The four curators of the “Women and Speed” show: Maria Sukkar, Mollie Dent-Brocklehurst, Maryam Eisler and Angeliki Kim Perfetti

When Richard Mille, the super-luxury watch brand, asked LUX magazine to create an exhibition in their Mayfair boutique during London’s Frieze Art Fair, we engaged four female collectors-curators to create an original narrative around the topic of “Women and Speed”. But why does the subject feel like an unconventional – even contradictory – pairing? Woman have often been depicted as slow, pensive, gentle subjects in art. Meanwhile, the male subject has raced from the oil-painted battle scene to the quick flash of the photograph as they drive past in fast cars, with women the ever-bystander.

Our curators, Maria Sukkar, Maryam Eisler, Angeliki Kim Perfetti and Mollie Dent-Brocklehurst, challenged that narrative.

The result was a stunning and original show featuring works by artists including Tracey Emin, Marina Abramović and Mary McCartney, and including iconic works such as Warhol‘s polaroid of Blondie’s Debbie Harry and American artist Jordan Watson‘s depiction of a female racing driver. There were also celebrated works by the likes of Helmut Newton, Nassia Inglessis, Fernand Fonssagrives, Maryam Eisler, and a stunning digital artwork by Six N. Five.

Guests of the opening included the crème de la crème of the London and international collecting world.

Follow LUX on Instagram: @luxthemagazine

Linda Bassatne, Maria Sukkar, Jo Glynn-Smith, Dina Nasser Khadivi and Alice Harvey

Francesca Ariani and Chloë Lopez

Samantha Welsh, Angeliki Kim Perfetti, Maria Sukkar, Darius Sanai and Maryam Eisler in the Richard Mille flagship store on Old Bond Street where the art curation took place

Tim Jeffries and Maryam Eisler

Jordan Watson with his artwork “Fast and Futurist” and Mollie Dent-Brocklehurst, enjoying the George Condo issue of LUX

Megan Reynolds and Chloë Lopez

Maryam Eisler, Tim Jeffries, Rachel Verghis and Darius Sanai in front of the Mary McCartney work “Kate, Kate, Kate”

Jordan Watson and Tarka Russell

Darius Sanai, Maryam Eisler, Maria Sukkar and Katy Wickremesinghe

Jonathan Glynn Smith and Nick Sullivan

Nassia Inglessis, Margot Mottaz and Mollie Dent-Brocklehurst

Alexander James and Marcello Polito

Maryam Eisler, Michele Codoni, and Angeliki Kim Perfetti

Angeliki Kim Perfetti and Annabelle Scholar

The curators: Maria Sukkar, Maryam Eisler, Angeliki Kim Perfetti and Mollie Dent-Brocklehurst – with special thanks to Michael Hoppen, Tim Jeffries, Mary McCartney and Superblue.

Director: Darius Sanai, Editor-in-chief, LUX magazine

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group photo of women
group photo of women

Some of Spirit Now’s London members during a meeting to decide the shortlist for the 2024 Prize, ahead of Frieze

An art prize awarded by some of London’s leading art collectors, in collaboration with Frieze Art Fair and the University of Cambridge, has announced Bambou Gili, Asemahle and Shafei Xia as its 2024 winners. Taya Suleyman reports

Bambou Gili, Asemahle Ntlonti, and Shafei Xia are the winners of the Spirit Now London Acquisition Prize announced at Frieze London. The prize, which celebrates emerging female artists of the age of 40 or below in collaboration with The Women’s Art Collection, was awarded by sixteen members from the Spirit of Giving Committee chaired by Marie-Laurie de Clermont-Tonnerre, founder and director of Spirit Now London, alongside Harriet Loffler, curator of The Women’s Art Collection.

Bambou Gili, announced as one of the winners, is known for her surreal, figurative oil paintings that reference art historical compositions but through a contemporaneous lens that employs esoteric tonal palettes. Reflecting on contemporary life, friendships, and interiority, Gili creates an imagined community of affection and care. With a palette of blues, greens, and turquoise, Legally Stev (2024) reflects Gili’s interest in observing intimate moments from afar.

Blue and green painting of man lying down

Gili’s latest oil painting for Frieze, Legally Stev (2024), portrays a close confidante of the artist in a moment of quiet repose, capturing an intimate sense of rest and reflection

Asemahle Ntlonti took home the prize for her deeply expressive paintings, which emerge from building up and stripping away material. Her ancestral homeland in the Eastern Cape of South Africa is a source of inspiration as her work is filled with nostalgia and longing, painting cracked, mud-veined surfaces that evoke the land’s deep emotional resonance. Her paintings become a poignant inquiry into ancestry, history, and the search for belonging.

Picture of an abstract painting

Working directly on the floor to fully engage her body in the process, Ntlonti gradually builds her pieces by instinctively layering and removing material as seen in this painting Uhambo (2024)

Multi-media artist, Shafei Xia was also named a winner. Drawing from the bold, sensual style of Japanese shunga and 19th-century Chinese erotic paintings, Xia explores the complex dimensions of love—its passion, jealousy, and even violence—through a lens of elegance and refinement. Her work celebrates female creativity, championing its diversity in all its forms.

Painting of two lions with lots of small figural drawings

Xia’s Fight and the Party (2024), watercolour on sandal paper, evokes a delicate balance between tension and harmony, capturing the intricacies of power dynamics, playfulness, and emotional intensity

A new chapter unfolds for the winners, whose works will soon be acquired and donated to The Women’s Art Collection at Murray Edwards College at The University of Cambridge, which aims to provide a platform for female artists in response to the ongoing underrepresentation of women in museums. Their work will join a collection of over 600 works, including those by notable artists such as Barbara Hepworth, Tracey Emin, and Lubaina Himid.

Within the realm of art and philanthropy, Spirit Now London is an exclusive international community comprised of art patrons, collectors, and friends. The organisation aims to support cultural institutions, promote women and emerging artists, as well as providing financial support for art exhibitions.

Members gain private access to exhibitions, intimate art events, and discussions that encourage thoughtful explorations of contemporary creativity. By facilitating connections among art lovers and cultural visionaries, Spirit Now London seeks to foster a vibrant community that champions emerging talent, enriches the cultural dialogue, and reshapes the narratives of contemporary art.

spiritnowlondon.com

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Winner of Claridge’s first Royal Academy Schools Art Prize, the young performance artist Daria Blum has taken to their ArtSpace to point fingers at you – no, me – no, her. 

LUX Magazine: What is the significance of the pointed finger?

Daria Blum: The gesture of the pointed finger has appeared repeatedly within my work, and in this performance I was interested in investigating its multiple meanings through subtle changes in direction and tension, using it to claim attention, cast a spell, blame, or ‘point the finger’. The sculptural works in the show also reference this act of deflection through the use of the pop filters, which are used to deflect air from reaching the microphone when speaking or singing into it. The mic stand sculptures emphasise the absence of the voice, which is an important aspect within the exhibition — I’ve been thinking about the demand for (live) performance, within my own practice as a ‘performance artist’ but also within the arts more broadly, and even though I ultimately ‘give in’ by performing this piece, there is a reluctance to speak, to sing, to be perceived.

In her performance for the exhibition ‘Daria Blum: Drip Drip Point Warp Spin Buckle Rot’, Blum stares down the audience, slowly directing her pointed finger to each member.

After her live performance, Blum makes her way through the audience and slips out the door at the back. The performance then takes on a digital aspect, transporting the audience into new worlds.

Blum appears on screen, continuing to point her finger as she makes her way through an abandoned 1970s office building.

Blum’s performance takes place amongst her ‘Redeflect’ installations that combine microphones, stands, and digital prints.

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Gilles Dyan, Chairman and Founder of the Opera Gallery Group, appointed Isabelle de La Bruyère as the Chief Executive Officer of Opera Gallery Group

Former Christie’s big shot Isabelle de la Bruyere recently joined global gallery behemoth Opera Gallery as Group CEO. From her swanky offices above London’s Bond Street, she speaks with LUX about her mission to take Opera Gallery, whose reputation has been carved from selling big-ticket secondary market works to the wealthy from its luxury retail locations, to another level

LUX: What made you take on this challenge?

Isabelle de la Bruyère: I have been following Opera Gallery and its expansion for the last twenty years and have always admired the Chairman’s vision for the group.

When I first moved to the Middle East for Christie’s, I realised how intimidating the art world was for clients who didn’t know it well. Gilles Dyan, who founded Opera Gallery in Singapore in 1994, understood this and built a business that was welcoming and accessible to art enthusiasts and collectors, with artworks of all price points. He always placed his galleries in the most luxurious shopping districts, and had a very personal, hands-on approach that clients truly appreciated. He made the art buying process easy and personable, and he has built a very loyal clientele who appreciate this approach.

The company has grown in the last fifteen years and the identity of the group has changed tremendously, but the engagement and commitment we have to our clients, and to anyone walking into the gallery, has not.

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LUX: How do you envision shaping Opera Gallery’s future, and what strategies do you plan to implement to distinguish it in the contemporary art landscape?

IB: I think Opera is already very well placed, but I’m focussed on organising more curated, museum-quality shows across our various galleries. I think it is very important to work with curators, critics and historians who can bring a different perspective and audience.

We recently organised a fantastic show in London entitled ‘The Whole World Smiles With You’, which was curated Alayo Akinkugbe, writer, curator, and founder of the Instagram account: @Ablackhistoryofart, and host of the “A Shared Gaze” podcast, which facilitates conversations with Black contemporary artists from across the globe.

The exhibition featured works by well-known artists such as Amoako Boafo, Chris Ofili, and Deborah Roberts, along emerging artists such as Jazz Grant, Thelonious Stokes, and Noel Anderson. Through her vision, the exhibition interrogated various modes of figuration by contemporary Black artists, and challenged the Western canon by overtly reconfiguring renowned paintings and portraying figures in poses reminiscent of pre-twentieth-century European portraiture.

This exhibition was an opportunity for us to engage with a contemporary dialogue in a more academic way and facilitate a dialogue between an incredible group of artists working in a range of mediums. In partnership with London Gallery Weekend, we hosted the recording of Alayo’s ‘A Shared Gaze’ podcast.

In addition to a more curated approach, Opera is championing its artists and Artist Estate Representation with its “Artist-Led Approach.” Our core mission is to champion each of Opera Gallery’s artists’ identities, capturing the attention of visitors, and encouraging a connection between the audience and the artworks.

We are working with and representing more contemporary artists than ever before, recently adding the likes of Anselm Reyle, Gustavo Nazareno, and the legendary London-based artist Ron Arad to our roster. It is a great honour for us to work with such talented creatives, and we want to continue to extend our family of artists with whom we work.

The Whole World Smiles With You – exhibition in London, cred. Eva Herzog

Contemporary artist Gustavo Nazareno in his studio

LUX: Opera Gallery interlinks household names in contemporary and near-contemporary art with very emerging and largely unknown artists. How do you navigate this dynamic interplay?

IB: Artists are influenced one way or another by the past and their predecessors. The masters we show, such as Picasso, Dubuffet, Warhol, Haring, or Soulages, have often been studied, admired or have impacted many of the contemporary artists we work with. Thus to me it makes sense to showcase some of the masters with appropriate contemporary artists who may have adapted some stylistic language or beliefs from their precursors. We do focus more than ever on curation, however, and it is important for us that our exhibitions are visually appealing, but also cater to our clients’ tastes and budgets.

An artwork by Jean Dubuffet

LUX: Do you have any ‘guilty pleasures’ in art?

IB: Having always worked in 19th & 20th-century art, I rarely got to meet artists and even less work with them. Since joining Opera, however, all that changed and I now get to learn about the artist’s process directly from them, and understand their work in a much more personal and passionate way, which isn’t necessarily a “guilty pleasure” but a pleasure nonetheless!

I recently travelled with Ron Arad to Washington, D.C. and revisited the Watergate Hotel, which he worked upon and created various works for, through his eyes. It was a marvellous experience and one that got me to understand the man, the creative, and his art more deeply.

The same can be said with Manolo Valdes or Gustavo Nazareno, who are two artists we work very closely with and who teach me about their work on a weekly, if not daily, basis. At the end, passion comes with knowledge and the more I learn, the more I appreciate!

Isabelle de la Bruyère with Israeli avant-garde designer and artist Ron Arad

LUX: Art and Purpose: do they come hand in hand?

IB: Absolutely. Of course the notion of ‘purpose’ can take many forms, but in the creative space, I believe that great artworks and artists lead with purpose and a strong point of view. To me, it’s this incisive approach to the expression of feeling, experience, and belief that is most impactful and intrinsically provides a space for dialogue and the exchange of ideas.

Read more: Art collector Andrea Morante talks on artist Sassan Behnam-Bakhtiar

I see creative expression as an essential part of human experience – seeing art that challenges us, or isn’t immediately obvious to us, makes us better empathisers, helps us think in different ways and in general enriches our lives and helps us keep an open mind to the world.

LUX: What is the biggest change the art world has seen since you joined Christie’s back in 1998?

IB: The greatest change is in the number of art collectors that buy artworks in the million-dollar bracket. When I first started in Christie’s Impressionist & Modern department, we had a list of one thousand clients that could spend at least one million dollars on a painting.

This number now seems ridiculously low in today’s world, and the number of art collectors and enthusiasts has grown with the globalisation and growing economies of the world. Collectors are no longer limited to a few families, but rather an expansive global base from all continents, each with the power to buy works in the seven figure range.

The world’s millionaire population has more than doubled in the last decade, and so has their interest in art, which has also become so much more accessible. There are more galleries, auctions, fairs, and private museums than ever before, which has helped foster new clientele.

We go where clients are nowadays, and Opera Gallery was one of the first art galleries to open up in Hong Kong, Dubai, Monaco and Aspen, as our founder understood the importance of being close to our clients. Globalisation of the art market has dramatically changed the way we work today, as well as the accessibility that has allowed for a more inclusive art world.

Opera Gallery London will be presenting an exhibition by Brazilian artist Gustavo from October 8th to November 9th, 2024.

www.operagallery.com

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Cora Sheibani has been designing jewellery for over 20 years. Her pieces are almost exclusively made in Switzerland, Germany, Italy and France, by goldsmiths of the highest calibre

In our latest print issue, Ina Sarikhani writes about jeweller Cora Sheibani whose whimsically beautiful creations are the go-to for aesthetes in London.

Cora Sheibani is the best advertisement for her bespoke, colour-saturated jewellery. Voluble, and a vision with her brilliant red hair, she is eager to discuss her work, art-history references, technical production and gemology, but the eye is drawn to her striking smoky quartz, bronze and red-gold cuff. “I wear a big bracelet instead of high heels,” she explains.

woman with hand over face with red nails wearing a ring and earrings against an orange background

Cora Sheibani has had jewellery exhibitions in many cities including London, Zurich, Geneva, Basel, St. Moritz, Paris, Copenhagen, Miami, Milan and New York

Her brand of exclusive is for every day as well as high days. The designer’s background is steeped in art. Andy Warhol, Jean-Michel Basquiat and Ettore Sottsass were represented by her art-dealer father and were family friends. When she was just four years old, she painted a canvas with Basquiat. Today it hangs in her hallway.

Follow LUX on Instagram: @luxthemagazine

This deep aestheticism is evident in her work, which has been exhibited from Miami to Milan. The collections, including Copper Mould, Clouds and Colour & Contradiction, are bold and cast in wild colour combinations. Think pink against fire opal; black onyx beads with slices of turquoise; gold butterfly earrings of garnets, peridots and heliodors.

Read more: LUX’s Artist in Residence – Annie Morris

women with red nails and wearing rings holding her ginger hair

She is renowned for jewelry that balances whimsy and sophistication, her designs feature playful motifs like clouds, pastries, and plant pots, alongside pieces with architectural and surreal elements.

This play of shape, colour and light is backed by exceptional craftsmanship, with collections made in Germany, Switzerland, Italy and France, and each edition is unique. The pieces are intended to be of their time. They are also ageless – sitting as easily on Sheibani’s daughter, Aryana, as on herself. They are also, of course, enduring. As the designer says, “Jewellery just has a longer shelf life than other design.”

corasheibani.com

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