Daniel Buren at Mount Nelson, 2023

When luxury titan LVMH bought the chic hotel and travel group Belmond, it catalysed an artistic photographic collaboration that encapsulates the shift towards the experiential. Belmond’s Arnaud Champenois speaks to LUX about the vision

Luxury hotels are not usually synonymous with daring photographic art: play it safe and show what the property looks like is the regular mantra. Not so with Belmond, the British brand that owns 46 gems such as Villa San Michele in Florence and the Copacabana Palace in Rio.

View from La Residencia, Mallorca (Photographed by François Halard)

Since its acquisition by LVMH in 2019, the group has been creating whimsical and sophisticated art images in collaboration with Galleria Continua in a project titled Mitico. The latest edition, its third, takes place this year with French master Daniel Buren. It’s all part of a shift from physical goods to experiences.

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“The term ‘experiential travel’ has evolved. Modern luxury travellers now want something different,” says Belmond’s Senior VP of Marketing and Communications, Arnaud Champenois.

Splendido hotel, Portofino (Marco Valmarana, courtesy of Belmond and Galleria Continua)

“Tick-box, fast and thoughtless travel is in the past. Travellers want to go much deeper into a destination, rather than purely seeing it and ticking it off their list.

Read more: Arnaud Champenois on preserving heritage and transforming experiences

Mount Nelson, Cape Town (Photographed by Rosie Marks)

They want to stay longer, try local delicacies, enjoy traditional music and crafts, understand the people, discover the real local treasures. They want to live the stories, not just hear them.”

Samantha Welsh

belmond.com/mitico

The Jean Nouvel-designed Louvre Abu Dhabi

The Richard Mille Art Prize, held under the celebrated dome at Louvre Abu Dhabi showcases artists from the Gulf region. Maria Sukkar, LUX senior contributing editor and co-chair of the Tate Middle East North Africa Acquisitions Committee, talks to the most recent curator, Maya El Khalil, and winning artist Nabla Yahya, at a time when previously marginalised artistic voices are becoming increasingly prominent

Transparencies was the theme for the Richard Mille Art Prize 2023/2024, a concept that inspired eight artists from in and around the Gulf to submit striking, varied works.

The Prize, created by the uber-luxury Swiss watch brand in partnership with Louvre Abu Dhabi, supports and showcases contemporary artists based in the Gulf region, an area whose artistic voices have been historically sidelined by a Western-centric art perspective.

Oxford-based curator Maya El Khalil and a jury of curators and authorities chose Dubai-based Nabla Yahya for SoftBank, her multimedia reflection on the history of the Suez Canal, for which she won $60,000 and a global platform, celebrated at a gala dinner.

Photograph of winner Nabla Yahya

Entry for the next Richard Mille Art Prize is open to artists from seven North African countries. The Prize is becoming one of the most influential in the world, with this year’s event taking place under the celebrated dome of Louvre Abu Dhabi.

Maria Sukkar, collector and a major voice in the contemporary-art world, holds a conversation with El Khalil and Yahya. Sukkar and El Khalil are UK-based with a global perspective, symbolic of the current, long-overdue integration of the West Asian region’s art canon with that of the West and beyond.

Darius Sanai

The winner Nabla Yahya’s SoftBank; shortlisted artists

Maria Sukkar: Maya, as a curator, what is your view of the art scene in West Asia?

Maya El Khalil: There are different institutions that have emerged in the region, all with a differing pace, focus and prioritisation. Although Dubai started as an art market, it also has institutions that enable scholarly research, and others for emerging voices.

Abu Dhabi is building on infrastructure, and other institutions are in the making. Saudi Arabia is developing lots of infrastructure. So we see the shift.

Historically, we talked of Egypt and Lebanon, however, Saudi, Dubai and Abu Dhabi are where the funding is. The same is true for richness and diversity going further East, such as the development of scholarships in India.

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Richard Mille Art Prize ceremony room

MS: Throughout your career you have been involved in amazing projects, curatorial posts and exhibitions. Could you elaborate on this edition of the Richard Mille Art Prize exhibition, “Art Here 2023”?

MEK: I think the “Here” in the title is very important. When we talk about “Here”, we are not only exploring the region geographically, but also the influence of history and tradition, and of factors such as climate change. So thinking about what is happening here and now is extremely important.

It also speaks to the spirit, the combining of traditional and fresh art forms. It is very much reflective of that. The dome is certainly a symbol of Arab architecture, and Louvre Abu Dhabi’s light-reflecting version also evokes the playfulness between the visible and invisible, the indoor and outdoor.

Architecture is a form of reflecting on modernity, but sometimes that modern transparency is rejected. There are lots of concepts to address, so the exhibition’s theme, Transparencies, is very rich.

“It’s so encouraging and validating to have such an esteemed selection committee believe in the work” Nabla Yahya

MS: You said in an interview that “the opportunity to present the work in this space is both a privilege and a challenge”. What were the challenges of curating a project in this non-gallery space beneath the dome?

MEK: Being semi-outdoors, to start with. The artists had to find ways of proposing work that can withstand the varying degrees of the elemental conditions, moving from extreme humidity and temperature fluctuations to sandstorms and heavy rain.

There is also the idea of scale. How do you compete with a space that is dominated by its architecture? I think the artists were able to successfully respond to that.

The Richard Mille Art Prize began in 2021, inviting artists in the Gulf region to propose new or existing artworks that engage with the chosen theme for the year

MS: What do you think distinguished Nabla Yahya’s work from the rest?

MEK: There were a few fundamental things that we considered while making this exhibition, such as the ability of the work to match the striking space and the atmosphere. The final decision was unanimous.

Nabla’s work, SoftBank, speaks of trade and labour, which are significant in the region; it is both thematically challenging and really well made – Nabla was extensively involved in producing the work itself.

It’s a subtle work, bringing confidence in what it’s alluding to; there is a depth and range of references and ideas, and the technique really brought it together to make a beautiful installation.

Photograph of Maya El Khalil, the most recent curator of the Richard Mille Art Prize

Nabla responded brilliantly to the theme, building not only on contemporary issues but also historical factors. We are at a time where we revisit history and ask, “Who tells that story? Who has the right to tell that story?”.

Nabla has a critical eye on this topic, which is both relevant and important.

MS: Can you tell us about your role as a curator?

MEK: It’s a very important role. It’s not a one-way communication and we hope that artists use the experience of a curator in having worked with different artists to benefit from the process.

Curating is a two-way experience that is important to start early on. It is not about imposing or instructing, it is very much about brainstorming and challenging ideas.

Louvre Abu Dhabi reinterprets Arab architectural themes

MS: How do you think the Richard Mille Art Prize can expand?

MEK: Every edition learns from the previous one. This is the first semi-outdoor exhibition, which inspires the artists. It will be interesting to see the prize evolve to be even more globally engaging and I look forward to seeing it open to a broader region of applicants.

I hope it remains in its current location, because there are still a number of conversations that can be developed in response to the architecture of the space, which will be interesting for the editions to come.

MS: Nabla, congratulations on winning this year’s Richard Mille Art Prize. What inspired you to create your winning installation, SoftBank?

Nabla Yahya: I started thinking about the Suez Canal in 2021 when one of the world’s largest container ships became lodged, holding up global trade. It made me think of how the canal came to be. I took its history for granted; I only knew from the 20th century onwards, in regard to its nationalisation in 1956.

I was interested in reading more of how it came to be. When I learned the Suez Canal had been built in the 1860s by hand, by forced labour, it made me want to make a work about it. I’m really interested in questions around labour and exploitation.

Archival prints are viewed through a hand-cranked carousel, evoking the labour of workers who built the Suez Canal

As I have an architectural background, I contended a lot with the complicity that architects have with the level of exploitation across the world due to global capitalism. It was heartbreaking for me to see how nothing has really changed in the implementation of these grand schemes.

When it came to “Art Here 2023”, I had already been thinking about the history and the project. Since the theme of Transparencies was announced, I thought it would be relevant to present my work, which deals with the opacity of historical narratives.

I also thought it would be interesting to present a work that dealt with French colonialism within a French museum, trying to bring some closure for the workers who were not documented.

Yahya seeks to examine histories and present realities that have been censored, erased, or overlooked by past and present systems of power

MS: What’s behind the name “SoftBank”?

NY: First, the banks of the Suez are made of clay, salt and sand, so they’re soft. In order to maintain them they need to be re-dredged as they need reinforcement. So it alludes to them literally, but also to a generation of soft power when it comes to building these kinds of mega projects.

They are promoted with a humanitarian vision. For me, there’s a failing in the intentions to create more profit and power. It also alludes to the Japanese investment conglomerate SoftBank, which is sort of a pun.

Photograph of Maria Sukkar, LUX senior contributing editor and co-chair of the Tate Middle East North Africa Acquisitions Committee

MS: The work is interactive; a lot of building went into it. How did that came about?

NY: There are three main components. There is the interactive carousel, then a topographical installation representing the canal, based on a map from 1870. Then you have a fountain, an Occidentalised version of a healing bowl, which, however, fosters greed and speaks of power struggles and exploitation.

I thought it would be interesting to make an artwork that involved the viewer in a similar way, to spend some time with the work, to make it a bit more active. There were several struggles, including the environmental; perhaps I would’ve used different materials if it was indoors.

Not only are we in this climate, but we are also on the water, exposed to salt water, so I was overloaded with so many possible issues, trying to think 20 steps ahead. And naturally, the cost of the work goes up when you’re using materials that are made to last.

In SoftBank, artist Nabla Yahya considers the history of the Suez Canal in order to “deal with the opacity of historical narratives”

MS: The work is certainly a dialogue between past and present, but also an outpour of emotion. What does winning the prize mean to you?

NY: I was completely shocked, and still am. It means a lot for different reasons. First, I was born in Abu Dhabi, so it meant a lot to win a prize there, 15 minutes away from the hospital where I was born.

Also, I feel as if I’m only just getting started, so it’s so encouraging and validating to have such an esteemed selection committee believe so much in the work. It is really incredible to receive this sort of feedback, because I’m not a very confident person.

It’s great that the art world has a space to have difficult conversations, and that people do care.

MS: You’ve always been interested in colonialism. Is SoftBank your most daring work so far?

NY: I do think it’s the most ambitious, but it depends on how you define it. If it’s daring because of the subject matter and context, I suppose so. I hope it sets a bar for myself.

SoftBank is comprised of three components that together examine the hidden histories behind the construction of the Suez Canal

MS: Now that you’ve won this prize, how do you see its future in the region? Can it become even more important?

NY: I think it goes back to what I was saying about others being able to express themselves freely. I think that could be a positive outcome, that this initiative could grow as a space where we can have these expansive global conversations. I hope that is the effect.

MS: What’s next for Nabla?

NY: I’m going to grad school. At the ceremony, I was so shocked at winning, but all I was thinking was, “I need to pay for grad school”. It was an emotional rollercoaster.

Carousel detail, depicting the exploitation of the workers who created the Suez Canal

MS: Maya and Nabla, it’s not the first time you’ve worked together. How did it feel to be part of a project together again?

NY: Maya gave me such incredible opportunities. The first time we worked together, she found me and reached out to me. I was a new person in her life and she trusted me with a commission for a show, which I think was so amazing.

With the open call for the Louvre, it’s so meaningful to have people looking out for you. Maya says she wants to support emerging artists and she really does that.

Read more: LUX curates for Richard Mille at Frieze London

MEK: When you research it, you’ll find artists who address our contemporary world in such an honest way. There isn’t a distance between Nabla and her work. Sometimes artists have a distant relationship with things that are going on around them and can critique them.

Nabla is so involved with what’s around her, she’s so invested in everything she does emotionally, theoretically and critically. At the same time, she does intense research before she makes her work. She is very much a barometer of the world around us and that is reflected in her art.

Yahya’s Occidental version of a healing bowl, which here “fosters greed”

MS: Nabla, you once said, “I escaped the architecture industry”. How do you merge both disciplines in your work?

NY: I’m not sure if it’s a good thing for me. During my interview for grad school, I was asked about my work being clean and crisp, which I attribute to my architectural background. I’d be interested in what kind of work I could make if I could shake that background from me.

I do think it’s limiting. I think that there are things that are incredibly valuable from this background, though, such as having a research-based approach to the world. In terms of thinking about forms and aesthetics, I would like to move away from it.

MEK: I see it differently, as a strength. But the fact that you’re aware of it, and you put yourself in situations where you challenge it, is promising.

artprize.richardmille.com

“Living in Beiruit has significantly influenced and enriched my creative journey, especially during the cosmopolitna era of the 1970s”

Elie Saab’s self-made fashion empire has spawned a world of luxury beloved by many of the world’s wealthiest and most discerning women. LUX speaks to the Lebanese couturier and entrepreneur

Elie Saab has achieved the supposedly unachievable. The designer has built his independent fashion brand, which has its origins in his home country of Lebanon, into a multimillion-dollar lifestyle business. At its heart is luxurious clothing desired by some of the world’s wealthiest, and most discriminating, women – indeed, Saab was the star of a recent Paris Haute Couture week.

He speaks to LUX Editor-in-Chief Darius Sanai about how he overcame cultural and commercial challenges to thrive in this most challenging of industries, by focusing on simply creating beauty.

LUX: Your family had to leave your home when you were a child during the civil war in Lebanon. Did this devastation and disruption affect who you are professionally today?

Elie Saab: I was in Lebanon throughout the war. We left Damour, a southern area, for Beirut because it wasn’t safe any more. My family lost their homes and jobs, and that forced me to take on responsibilities early in life and work to support my family. This led me to discover my passion, which eventually became my career.

Elie Saab began his career by designing intricate bridal gowns, gradually expanding his business on an international scale.

LUX: How do you weave the story of Lebanon, a country of beauty, history and tragedy, into your designs?

ES: Our culture and heritage shape who we are and I draw constant inspiration from them. Living in Beirut has significantly influenced and enriched my creative journey, especially during the cosmopolitan era of the 1970s. The elegance of Lebanese women during that time has strongly influenced my designs. I blend Lebanon’s essence with the charm of the Mediterranean in my creations.

LUX: You focus on femininity, beauty and celebrating royalty, even though these have gone in and out of fashion. Do you consider trends or prefer to do what you like?

ES: When I create, I think of a dress that is timeless; a dress that can be passed down from mother to daughter. The ultimate goals are for a woman who tries on my dress to feel confident and to highlight her femininity. I always want her to feel sublime.

Sketch for LUX by Elie Saab.

LUX: How important was the invitation by the Chambre Syndicale de la Haute Couture to join it in 2003?

ES: I would say the first milestone was in 1997 when I was invited to showcase my work in Rome at the Camera Nazionale della Moda, as the only non-Italian designer. After that, I decided to present my work in Paris and that is when I received the invitation of the Chambre Syndicale de la Haute Couture. This shift was another milestone for my career; I became one of the earliest non-French designers to receive such an invitation, following in the footsteps of Valentino, Armani and Versace. This major step enabled me to expand my business and step into a bigger spotlight.

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LUX: Fashion is a tough business and many talented designers have failed commercially. What does it take to succeed?

ES: This field is becoming more and more challenging. You have to distinguish yourself from the competition with a unique product. I aim to highlight the beauty of women. What we offer is wearable and classic pieces. Reaching that stage was not easy. Elie Saab has evolved into a lifestyle brand, catering to a diverse audience with different lines ranging from haute couture to ready-to-wear, perfumes and Elie Saab Maison, an entity of its own.

Beyoncé wearing an Elie Saab Haute Couture Autumn/Winter 2023 gown during her Renaissance world tour, 2023.

LUX: What have been your greatest challenges? What was the worst time?

ES: We always face challenges, they’re part of the journey to success. With no challenges come no rewards. The important thing is to learn from them. I don’t dwell on the past. I choose to take lessons from it and move forward.

LUX: How much has social media and online shopping changed the fashion business, both commercially and aesthetically?

ES: It has definitely made a big difference. I think social media is a powerful tool to promote your business. It gives you so much visibility and exposure in such a short time, which wasn’t possible before. It opens up amazing opportunities, especially giving a platform to young and emerging designers who are working hard to make their way into this industry. Yet social media can be tricky, and it is important not to confuse virtuality with reality. In a day you can go viral, so it’s important to stay consistent and true to yourself.

Read more: Two key players in British fashion raise the game for personal shopping

LUX: You looked delighted at your recent haute couture show in Paris, after the rapturous reception for Jennifer Lopez. How important are reactions to what you do?

ES: The amount of positive feedback from the press, social media and clients was, of course, very important. It reaffirmed the importance of the collection itself and how well it resonated with our audience. J.Lo was stunning as always and chose a look from the runway. The level of stress remains constant, regardless of the number of shows, until I receive reviews from clients, audience and the press. Positive feedback always boosts motivation to do more.

Jennifer Lopez at the Elie Saab Haute Couture SS24 show wearing a floor-length feathered Elie Saab cape.

LUX: You have said you were born with a vision of beauty. What would you have been if you had not been a designer?

ES: I would have become an architect. I love designing and creating. This passion expanded in 2020 when we launched Elie Saab Maison and real-estate projects, aiming to reach a wider audience and evolve into a lifestyle brand.

LUX: What’s next in the evolution of Elie Saab?

ES: We are on a roll to keep expanding, whether it’s in different house lines or in undertakings such as real estate. In 2024, we have various projects in the pipeline, such as expanding our boutiques, network and lines. There is always something to look forward to.

eliesaab.com

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.

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.

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”

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

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