Bentley Continental GT V8 Convertible

In the third part of our supercar review series, LUX gets behind the wheel of the Bentley Continental GT V8 Convertible

Certain cars have visual drama. Other cars loom. Others still are artistic. The new Bentley Continental GT V8 has presence.

It’s a hard thing to do well in a car, presence. Any large car is literally more present than any small car, and the Bentley is on the large side for a car that doesn’t accommodate more than one large suitcase in its boot, But, recently re-designed, the Continental has a svelte way of going down the road, with a rather beautiful front, and balance in its looks. It is not imposing like a Rolls, its presence implies elegance.

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This is a powerful, fast convertible that actually has proper room in the back for a pair of adults. It’s true that four adults, seated in the car and travelling in refinement at high speed accompanied by the mellifluous howl from the V8 engine would need to send all but their hand luggage ahead of them, as the boot could only accommodate some squishy Vuitton bags.

But that’s fine, because the Bentley is a car for being there and enjoying it, rather than getting there, as the name implies. Unless getting there involved a hypothetical world of traffic-free open roads with no speed limits and sinuous curves up mountain passes devoid of caravans and coaches. In which case, the Continental would be enormous fun. The engine has huge reserves of power from low down and makes a great noise as it punches forward. Perhaps it doesn’t have the bite of its 12-cylinder, bigger engined sibling, but you would only really notice if you were having a race. In the past, Bentleys tended to be bruisers of cars – capable and powerful, but not delicate, and sometimes rather awkward when pushed.

Read more: Anne-Pierre d’Albis-Ganem on championing artists

This car will canter at high speed through tight corners which would have left its predecessors losing grip. It’s also enjoyable to drive at low speeds, roof down, enjoying the scenery outside and the absolutely stunning detail of the interior. As cars have become luxury brands more than simply driving implements, the beauty of the finish in this car’s interior is what sets it apart from cheaper competitors that can match it on performance (think Tesla).

That, and its presence. Essential owning, if you have a home in St-Tropez or the Hamptons.

LUX Rating: 19/20

Find out more: bentleymotors.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

Looking down onto the Bad Moos Dolomites Spa Resort in the Drei Zinnen Dolomites

The little-known area of Drei Zinnen, in the German-speaking Italian Dolomites, offers a cultural, culinary and slopeside experience like no other, as Darius Sanai discovers

‘Atmosphere’ has become an almost meaningless word when describing a place. A hotel describes its bar as “atmospheric” as a matter of course. But a real atmosphere, in terms of travel, is not about a room, or a building, or even a town. It is about a sense of place that is imparted by the location, the light, the scenery, the buildings, the weather, people, detail… Everything.

Some places simply don’t have an atmosphere, and cannot create it however luxurious the hotels, restaurants and facilities they create. Other places have elements of an atmosphere – spectacular views, fascinating buildings – but they do not add up to a whole.

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And some places have an atmosphere that is more than the sum of its parts, that envelops you as soon as you arrive and increases in intensity the longer you stay.

Drei Zinnen is one of those places. Step out of the car that has whisked you there on a relatively easy drive from Innsbruck airport, and there is the sense of being somewhere quite apart from the rest of the world, yet not secluded, claustrophobic or shut away.

Crunching the few steps in the snow to the door of the hotel Bad Moos, you are in the middle of a wide, high, tree-lined bowl, lined with crannies, streams and villages, and backed by the dramatic fingers of the Dolomites.

The gothic dining room at Bad Moos. © Hannes Niederkofler

Inside the hotel, the atmosphere is only heightened. This is an exquisitely tasteful, contemporary take on Alpine (or specifically, South Tyrolean) chic. Rooms have lavish wooden floors, fabulous wool throws, beautiful modern fireplaces, glass-walled bathrooms, and finishes and details (the furry slippers!) that puts many more hallowed luxury Alpine hotels to shame.

Read more: Auctioneer & Collector Simon de Pury on curating the Waldorf Astoria’s art collection

A wooden-lined tunnel leads to a spa zone that is split between equally large indoor and outdoor pools, and swimming through the divide that leads outdoors into the moonlit night, surrounded by snow, in winter, there’s that word ‘atmosphere’ again. Lie on the long (everything is done generously here) hydro massage rack at the far end of the pool, look down the broad open valley to the peaks of the Tre Cime mountains in the distance, spot planets and stars overhead above the gently forested slopes, and there is more of a sense of place than in many Alpine resorts.

A ‘Tre Cime’ Junior Suite. © Hannes Niederkofler

Wonderful as these facilities are – particularly for a hotel not classified as one of the region’s official palaces, and all the better for it, having none of the pomp and intrusiveness of staff looking down on you – the best part of the Bad Moos experience is in the dining room.

It’s a big area that manages to be spacious (all the best for social distancing this winter) and atmospheric at the same time, split into three broad rooms at slightly different levels. The picture windows have views out over the snow fields and over to the village, a couple of hundred metres away across the bottom of a piste.

The service is a kind of perfect concoction of the best of the Alps. The South Tyrol, where the hotel is located, was part of Austria until the end of the Habsburg Empire at the end of the First World War, just over 100 years ago. It was then taken over by Italy, and has remained in Italy ever since, albeit under an autonomous government. Like everyone else in the area, staff speak both German and Italian. There is an Austrian cosiness, a Germanic efficiency, an Italian sense of style and gastronomy – and generosity of spirit. If delicate Italian fish dishes and perfectly ethereal pasta finished with home-made Austrian strudels and tarts are not your idea of culinary perfection, perhaps a choice of some of the greatest wines of the northern Italian Alps or alternatively an icy Austrian Pilsner beer, is. The cuisine and ambience are simply transported outside onto a generous terrace at lunchtime at the bottom of the piste.

The outdoor pool at the hotel’s spa. © Hannes Niederkofler

Ah, the pistes. It’s easy to forget about the skiing as you enjoy the originality and brilliance of the hotel, but the tree-lined slopes above and around the hotel are deceptively extensive. This is one of the most serious ski areas in the Alps, and the black run descending directly to the hotel terrace via a twist in the mountainside is officially classified as the steepest black run in the Italian Alps. The gondola to send you to the top is located directly outside the terrace; at the top you emerge onto a mountain pass, just above the tree line, with a boggling view of the Dolomites, a range that looks like it has been transported to Europe from another planet.

Read more: Artist Shezad Dawood on the endless potential of virtual reality

From here, you have a choice of entertaining red runs to take you down to a variety of excellent runs on the other side of the huge valley junction; or you can head in the other direction, and set off on the Unesco World Heritage ski trail. This tracks gently across and down the mountainside, through forests and past lakes, with a series of mesmerising views unfolding, seemingly miles from inhabitation or any lifts. You arrive at a small hotel on another mountain pass, with a couple of lifts to take you up, and from where you ski away along the mountain trail again, ending up in a long traverse at the far end of a huge meadow, in a village, Padola, that is not only in a different ski area, but in a different province of Italy, where they speak no German at all. To get back, there is a regular ski bus – although it operates with a more Italian than German concept of regularity, and it would be worth checking this season how it will operate if there are social distancing requirements still in place.

The panorama restaurant. © Hannes Niederkofler

If you’re looking for a replica of Courchevel or Verbier with sushi bars and nightclubs, and dancing till dawn, Drei Zinnen is not for you. And if you’re looking for a place to take the family and friends on an easy ski holiday with everything immediately at hand, then it’s probably not for you either – try Meribel. Which may sound strange, but let me explain. On our third day, as the sun was heading towards the crest of the mountains after another day of blue sky and deep snow, I headed, in my moon boots, across the kilometre-wide field separating the hotel from the little village of Moos. (I could have taken the bus, but that would’ve defeated the purpose.) Walking across the field you are surrounded by a 360° amphitheatre of the Dolomites. Such a view in just one of those directions would have been impressive; it was replicated in every direction, and this is at the bottom of the valley, let alone the top.

After 15 minutes, I found myself on the village High Street, and walked past a bakery into what appeared to be a mountain accessory shop but which also had a supermarket sign on it. This was the ‘everything store’ of the village, selling a unique selection of local products (south Tyrol jams, embroidery, cloths) along with high-tech ski gear, and an excellent wine selection, from tiny producers in the local area that sommeliers in Europe’s metropolises would fight over, and local hams and cheeses. Everything was in two languages, German and Italian, and their lack of similarities can make for extra fun: the wine was from the Alto Adige, Italian for Sudtirol (South Tyrol); cured ham was both Speck and Prosciutto; even the area is alternatively called Drei Zinnen or Tre Cime, and the mountain above the village (housing the main ski area) was called Helm until 1918 (and on half the signs) and Monte Elmo since 1918 (and on the other half).

Walking back to the hotel, wine bottles weighing me down, I felt that I had discovered a striking cultural and geographical part of Europe on holiday, and, just coincidentally, enjoyed some of the best and most interesting skiing in the Alps. It is a unique combination, and not for everybody, but true atmosphere rarely is. A place for intermediates, experts – travellers, and connoisseurs.

Drei Zinnen, Italy

We travelled to Drei Zinnen via Innsbruck and a private transfer, with Crystal Ski Holidays, which offers a week’s half board at the Bad Moos Dolomites Spa Resort from £1,165 per person when booked online (based on two adults) including flights from London Gatwick to Innsbruck and transfers. Transfer time from Innsbruck airport is around 90 minutes via an easy, mainly motorway, route.

For more information visit: dreizinnen.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

Lamborghini Huracán EVO RWD

In the second part of our supercar series, LUX drives the new and improved Lamborghini Huracán EVO RWD

Amid the current debate about cultural appropriation, we have a theory that many of the best things in life come from cultural mingling – which is not quite the same thing. Anyone who has visited the region of Alto Adige in northern Italy, which has been swapped between France and Austria over the centuries, will understand Italian culture and cuisine combined with Austrian efficiency creating a whole new world of design and lifestyle? Yes, please.

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We have a theory that the same thing has happened at Lamborghini. This is, on the face of it, the most extrovert and Italian of carmakers. Its logo is a raging bull, created specifically to annoy Enzo Ferrari and his prancing horse. Its cars are not only era-defining design classics (look at the 1960s Miura, which featured in The Italian Job) or the crazy 1980s Countach. They are also, traditionally, loud (visually and aurally), outrageously designed inside, have posing value beyond any other car no matter what the price, and go very fast, if you can handle them.

But this was not all good. Perhaps you wanted something with a soul of a Lamborghini, which didn’t attract a crowd of onlookers every time you drove it. And perhaps you wanted something that you would actually look forward to driving, rather than bracing yourself for a task.

The calming influence on Lamborghini’s hairy-chest nature came in the form of the Volkswagen group, which acquired the company in 1998. Lamborghinis have had a reputation for being better built, more reliable and easier to use since then. But they have also started moving towards the other extreme of becoming efficient. You might have driven the previous model Huracán across Europe, for example, with great satisfaction, but would it have stirred your loins like a previous Lamborghini? The best cultural cocktails are a perfect combination of ingredients, and an alchemy creating something else out of the whole.

Read more: Anne-Pierre d’Albis-Ganem on the importance of championing artists

And this is where the RWD comes in. Lamborghini have taken their current Huracán EVO and taken away the drive from the front wheels, so the previously four-wheel-drive car is just two-wheel drive. They have also reduced the weight, made it more aerodynamically efficient, and, marginally, reduced the power. And they have reduced the price – although that is not likely to be very important to this market.

The reason behind this is to create a car that is not just brilliant on paper, striking to look at and efficient, but to create a car that stirs the soul. The ‘digital’ nature of some of today’s supercars is a reason why some models from 10 or 20 years ago have been going up in value. This Lamborghini is a more analogue car.

The difference is evident even in the first low-speed corner. You are connected to the steering in a way you are not with its 4WD sibling. Approaching some higher speed corners once out of town, you feel a far clearer weight transfer to the back of the car and, on exiting the corner, you feel your acceleration is pushing the rear wheels out and helping you around the corner. And the steering is not interfered with by any tugging from power going to the front wheels at the same time as you are trying to steer. It sounds a little, but it means a lot. Suddenly, you are driving the car, rather than overseeing something that more or less drives itself.

The Huracán is old school in that it features a V10 engine, with no help from turbochargers or an electric motor. And given that typically these cars are driven short distances over their lifetimes, it will probably emit less CO2 than the average family car. Which is not to say that cars like these save the planet any more than they are not guilty of sacrificing it either.

Lecture over, on to the all-important Lamborghini feature of looks. Ours came in a spiffing shade of matt purple. It garnered stares from bystanders rather than a crowd of them like some Lambo models. If it’s attention you crave, better get an Aventador, this car’s big sister. If it’s driving pleasure, buy one of these.

It gets one of the highest ratings of any car we have ever tested. And if it had even more feedback to the steering, and even more dramatic looks (we like that kind of thing), it would receive a perfect 20.

LUX rating: 19.5/20

Find out more: lamborghini.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

Simon Hodges photographed by Matt Porteous

Last month, life coach Simon Hodges discussed why healthy dynamics often deteriorate and offered practical tools to help break out of old destructive patterns of behaviour. In his last column dealing with family dynamics, Simon provides some practical and powerful tips to improve family relationships

Love is always the answer, the answer is always love

This may sound obvious, but I make no apology for saying it: if you want to build more loving relationships, you have to make being loving your primary focus. This is not just a ‘soft and fluffy’ act. Far from it, it is actually the most challenging and most rewarding thing you will ever do.

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The most loving relationships are those where boundaries exist – put simply this involves being honest with yourself about what is ‘ok’ and what is ‘not ok’ in your relationship with others and making this clear to those around you. Once these limits have been set, it is then a case of holding each other accountable to these boundaries (with consequences for overstepping them). Though it may seem counter-intuitive, this requires putting yourself first, having the moral courage to say what you feel and to say it proactively and pre-emptively before any problems occur; take a moment to reflect on this point and be honest with yourself – do you routinely avoid speaking your truth because it feels awkward to do so? And then ask yourself, what are the consequences of failing to do this in your most important relationships?

The other major component of a loving relationships is trust, which can only be built over time. Trust is complex, nuanced and layered. At one end of the spectrum is an assumption of trust based on a contract; at the other end, there is unconditional and ‘pure’ trust, where no matter what, you know that other person will be there for you. Above all, trust is earned by being reliable and consistent in your actions (actions speak louder than words) which meet or exceed someone else’s expectations. And if you really want to build long-term trust and have a life of fulfilment, live a life of service. When we step out of making everything in our lives about ourselves and we seek to serve others, we create a virtuous ‘win-win’ circle.

Photograph by Matt Porteous

Dynamic communication is key

We often get lazy in our closest relationships and forget some of the golden rules of great communication. One of the biggest mistakes we make is assuming that we truly understand what the other person is saying without checking. The definition of effective communication is making sure your message is received and understood the way you intended it to be, but when was the last time you checked to see if that was the case?

Here are two simple techniques to do so:

• • Repeat in your own words what you think you just heard the other person communicate to you.
  • Where you are more unsure if you understood correctly, ask the other person to clarify for you what you just heard.

In using these techniques, you are immediately establishing deeper connection and rapport because you are effectively communicating (at an emotional level) that you care about the other person. You want to truly understand their perspective and as a result they feel heard, respected and valued.

Read more: Simon Hodges discusses how to break free from destructive behaviour

One final practical tip, which is always a game changer in family dynamics and speaks to the point above about serving others, is to learn to listen more objectively and better still, with practice, to listen intuitively. Objective listening is all about putting yourself in the other person’s shoes, making a real effort to understand what the other person needs and why. This requires us to step out of our desire to win and control every situation, and to genuinely want to understand the other person’s needs.

Intuitive listening is an art, and it is appreciated by everyone. With practice and real presence, you’ll be able to instinctively pick up insights and feelings around what is emotionally driving the other person’s behaviour. Often you will find out the most important information by tuning into what they aren’t saying: by observing their body language, listening to the tone and intonation of their voice and paying attention to the energy behind all of this. When you can really hear someone, when you value their thoughts, ideas and opinions, your relationship with them will immediately start to transform.

Find out more about Simon Hodges’ work: simonhodges.com; @simonhodgescoaching

The Heritage Suite Bedroom at Castello Del Nero, Como Group’s latest opening in Tuscany

Olivier Jolivet has sat at the helm of COMO Group since 2017. He oversees the COMO Hotels and Resorts portfolio across 15 locations, and masterminded the launch of Castello Del Nero, the group’s first property in continental Europe. Here, Jolivet tells Chloe Frost-Smith why the luxury travel industry will see an increasing demand for small hotels, private residences and wellbeing experiences this year

Olivier Jolivet

LUX: What sets COMO apart from other luxury brands?
Olivier Jolivet: COMO and its businesses are unique in the luxury landscape. Since its inception, the shareholders stayed the same, which provides stability to the organisation and the opportunity to think long term. It’s a massive competitive advantage, especially when recruiting the right talents. COMO is not only a brand, it’s a ‘lifestyle‘ and this why we have invested in fashion, wellness, sport and will continue to do so in the future.

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LUX: COMO is currently reopening properties in select destinations after temporary closure due to the pandemic. How’s that going?
Olivier Jolivet: One of our founding purposes at COMO has been our 25-year commitment to holistic wellbeing among customers, staff and the communities where we operate. As our properties re-open, we continue to adjust measures to remain in line with different government guidelines, and when we are in doubt of guidelines, we will always go further to ensure the safety of staff and guests.

In the long term, health isn’t ever a quick fix ,but a life-long commitment. This is the driving force behind COMO Shambhala – the wellness heart of COMO, which has always prescribed an integrative approach to wellbeing.

LUX: Can you tell us a bit about the launch of COMO Shambhala By My Side?
Olivier Jolivet: COMO Shambhala By My Side is an innovative digital wellbeing companion, launched by COMO Group’s holistic wellness brand, COMO Shambhala, to bring wellness programmes and personal consultations into homes around the world. The online platform brings together the holistic expertise honed at both COMO Shambhala Urban Escape in Singapore, and COMO Hotels and Resorts wellness locations around the world. Through the digital platform users can access COMO’s rich network of international experts. COMO Shambhala By My Side provides a sanctuary for those who seek tranquillity and the inspiration to stay active during these uncertain times and beyond.

The Bayugita Master bedroom at COMO Shambhala Estate, and above, the treatment room in the retreat villa

LUX: What’s your approach to sustainability for now and in the future?
Olivier Jolivet: No matter the location, we operate with the belief that we can deliver unique experiences for our guests while operating sustainably. We reduce our consumption and source locally, managing our water and energy to minimise our impact on the environment. We celebrate local culture and support the domestic economy, offering immersive and authentic experiences. This is true for all the business we operate.

We have a long-term philosophy and sustainability has always been a key part of our make-up – we just don’t feel the need to shout about it.

Read more: Why Sofia Mitsola is one of our artists to watch in 2021

LUX: You recently oversaw the brand’s first venture into continental Europe, Castello del Nero. Why Tuscany?
Olivier Jolivet: When you want to be an international lifestyle brand, it is difficult to avoid Italy. Tuscany is one of the most amazing regions of Italy with its history, its landscape, its tradition and food. You will always have a strong local market and a great international appeal.

The exterior of the chapel at Castello del Nero

LUX: You have managed two luxury travel brands with Asia-Pacific origins – your current role with COMO and your previous position at Aman Resorts. Is this coincidence, or is there something in particular that drew you to these destinations?
Olivier Jolivet: Even if these two brands have the same geographical origin, they are very different in their conception and in their history, and yes, I was very curious about it. What drew my attention is probably the myth around them and their huge potential for growth.

Read more: Artnet’s Sophie Neuendorf on the rise of a new Renaissance

LUX: Bhutan is a relatively unusual country to have in the portfolio. What is your thought process when it comes to scouting out new destinations?
Olivier Jolivet:  We look for destinations with soul. Our hotels inspire people to live fuller lives and make a meaningful difference by creating experiences worth re-living, whether it’s meditating at an ancient Bhutanese temple or diving with manta rays in the Maldives. Our guests want to satisfy their quest to explore our destinations with COMO.

A water villa at COMO Cocoa Island resort

LUX: How do you think the coronavirus crisis will affect the luxury travel in general and your group in particular?
Olivier Jolivet: Travellers will opt for smaller groups, more intimate locations and specialised offerings instead of 300-bedroom hotels. Our hotel business model has always catered to this, focusing on the soul of each destination, offering limited rooms and suites, and catering to those who seek to improve their wellbeing. For COMO, it’s not about long-term change; our core philosophy toward proactive wellness isn’t changing, it’s just never been more front of mind. We are successful not by chance, but because we continue with our vision.

LUX: What travel trends do you anticipate emerging in 2021?
Olivier Jolivet: I have always said that luxury has something to do with space and intimacy. It is now more relevant than ever, and small destinations will prevail. Travellers are on a pursuit for privacy and intimacy, and we’ve noticed an increased demand for our private villas and residences, as well as private, exclusive experiences. I also predict there will be a strong emphasis on people wanting a wellbeing offering.

LUX: Do you have any new developments in the pipeline?
Olivier Jolivet: We are focusing on developing our lifestyle component by investing into new trends, new businesses and new destinations. We’re also in the process of launching our COMO Club, with access to the world of COMO from hospitality to wellness, sport and fashion.

Find out more: comohotels.com

Ferrari 812 Superfast

In the first of our supercar review series, LUX enjoys an exhilarating drive in the Ferrari 812 Superfast

Ferrari is regularly voted the world’s most powerful luxury brand, and yet curiously there is some discrepancy in consumers’ perception of the company’s products. Mention Ferrari to most people, and they will think of a loud, exciting, flashy high-powered car. Something extroverted, stylish.

Getting into more detail, participants in your own personal luxury brand survey, depending on their age, might describe a car with two seats, an engine behind the driver, above the back wheels, in open view. Like the Testarossa in Miami Vice, or for an older generation, the 308 in Magnum P.I.

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In reality, Ferrari’s flagship product has for the past two decades been something slightly different. Since the introduction of the 550 Maranello in 1997, the most expensive regular production Ferrari you can buy (as opposed to the limited edition special additions open to gazillionaires with contacts only) has been a two-door, long-nosed car with the engine in the front, far more conventional than perception would have it.

These were a continuation of the original front-engined Ferraris from the 1950s and 60s. But the visual quietness of the new flagship 550 in 1997 also coincided with an and sophistication of experience that is perhaps at odds with most people’s perceptions. The 550 and its successor the 575 would pass down any street without turning heads. They were intended to be driveable every day, not show pieces for show-offs.

And while their successors, the 599 of 2006 and F12 of 2012, turned up the dial in terms of performance, the flagship Ferrari was still not a show-off ’s car. The F12 in particular was a conundrum. Here was a car with 730hp, two seats and the ability to handle that power around the toughest of racetracks. Yet on the road, it was curiously refined.

So, when Ferrari announced an updated and upgraded version of the F12 called the 812 Superfast, one might have expected even more of the same. But, for the first time since the F512 M of 1994, which was the ultimate incarnation of the legendary 80s Testarossa, here was a flagship Ferrari that looks like it really wants to be noticed. The 812 is not exactly beautiful, but it is extremely striking in the intent that its engineering and aerodynamics give it.

And the driving experience is also transformed. It has more power from a bigger engine, shorter gearing, rear-wheel steering, and an even faster and more sophisticated paddle-shift gearbox. However, none of these guarantees a more exciting driving experience – just a fast one.

Read more: Why The Alpina Gstaad is top of our travel wish list

From the moment you aim the Superfast around its first corner, you realise that something is up. The steering is sharp, the whole car feels alive and wanting to communicate to you. The faster you go, the livelier and more delicate it feels, and more exciting. Drive the F12 or the 599 down a good road at 70mph and the car shrugs its shoulders: “This is slow, boring, I can do three times the speed”.

The miracle of the 812 is that it is even faster yet feels more involving by a factor of five. At higher speeds it feels delicate, like a dancer, you can control it with two fingers on the wheel while feathering the accelerator pedal.

The star of the show is the engine. Ferrari, like the rest of us, knows that the days of the internal combustion engine are strictly numbered. So, it is a kind of act of brilliant defiance to create this 800hp, 6.5 litre V12. You don’t even have to move to appreciate it. With the engine warm, and gears in neutral, give the accelerator a tap with your right foot. Revs shoot up to 6,000 with a “VLAAP” noise straight out of a Formula One car, and down again instantly.

The interior, meanwhile, is a masterpiece of modern Italian design, minimal yet beautifully put together with Alcantara, carbon fibre, curves and angles.

Is there a downside? In a car-seat set up uncompromisingly for excitement rather than cruise and use, the ride will inevitably suffer and it does in the 812. This would be a tiring car to drive on a long trip; it is no grand tourer at all. It is, simply, a supercar.

We knew the 812 Superfast would live up to its name in being the fastest regular production Ferrari ever made. What we didn’t know was that it would be the most fun as well. Bravo.

LUX Rating: 19.5/20

Find out more: ferrari.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

Artist Clara Hastrup in her studio at the Royal Academy of Arts in London

Danish artist Clara Hastrup graduated from the Royal Academy of Arts in 2020, and is one of the selected artists in this year’s New Contemporaries exhibition. Here, she speaks to Millie Walton about experimenting in the studio, the symbolism of blue and finding beauty in everyday objects 

1. Where does your creative process typically begin?

I have to look backwards to see how things begin. I have a lot of things lying around in the studio that I find and buy –  everyday objects -, and I like to continually experiment with these objects and make small models. Through this chaos, ideas come about. I also read and research things I am interested in, and play is an important part of my practice. I play around with functions of the objects, and see how they can lead from one thing to another. I usually have multiple things going on at the same time, and I try and connect these ideas.

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2. What draws you to the objects that you collect or buy?

I look at colours and visual qualities. For example, with Lapdog Tabernum, I found the colour of Doritos interesting, and the fact that you can transform them into a material similar to sand that has a lot of new associations and meanings. At other times, I’m drawn to a pattern of some sort. So much design and thought that has gone into these low value, everyday objects, and I try to look for the beauty even if it seems like it has little meaning or value. It’s a combination of allowing intuition and logic to come together. Everything, to me, is a potential material.

Here and above: Lapdog Tabernam, 2019, Clara Hastrup, installation view at URBANEK Gallery, South Dulwich, London

3. The colour blue seems to recur in your work quite frequently. Does it have particular significance for you?

I have always been very drawn to blue. It is a colour that represents a lot of emotions. It kept popping up for me particularly in relation to the Lapdog Tabernum installation, and I allowed it to tie the materials together. It’s a very vibrant colour, but a sad colour as well, and I like that contrast with the humorous gestures. At the same time, it’s a colour which is often used as a backdrop as it is associated with the sky and ocean.

Read more: Anne-Pierre d’Albis-Ganem on championing artists

4. How did your Instant Sculpture series come about?

It started because I had these travel magazines which I took from my bedroom and brought into the studio. I started cutting them out and making these small gestures, but I didn’t know what to do with them as they only existed in the moment. I wasn’t sure if they were sculptures or images, but then I started photographing them, and repeating the process. Sometimes, these kinds of experiments don’t lead to anything, but perhaps they will become bigger sculptures. That’s often what happens with my work, I start by doing a lot of small things and occasionally, it makes sense to transform its meaning which excites me.

A work from Hastrup’s ongoing Instant Sculpture series

5. Where do you go for inspiration?

Museums like the Tate or galleries in Mayfair, but inspiration, for me, could come from anywhere – botanical gardens, nightclubs, music, reading.

6. What do you have planned for 2021?

I am part of the New Contemporaries exhibition which opens on 13 January at South London Gallery. Also my degree show, which was postponed from last year, is taking place in June this summer.

View Clara Hastrup’s portfolio of work: clarahastrup.com
For more information on URBANEK Gallery, visit: urbanekgallery.co.uk

Jonathan Riss has designed a collection of bags exclusively for One&Only

Belgium-born designer Jonathan Riss is the founder of JAH AHR, a luxury brand which transforms authenticated vintage designer bags through embroidery techniques. His latest collaboration with One&Only Resorts – a collection of limited edition custom-designed vintage Louis Vuitton Keepalls – is inspired by the local heritage and culture of each of the brand’s destinations. Here, Abigail Hodges speaks to the designer about his creative process, sustainable fashion and the future of travel

1. What led you to start re-crafting iconic vintage fashion pieces?

We live in a society of significant over-production and if you analyse consumer behaviour, you quickly see that people prefer iconic pieces, not because of their value, but because of the work and effort to perfect these pieces over time so they too reflect the values and desires of society.

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Today, there is an increasing demand for sustainability as well as individualisation. The idea that we not only take vintage objects and give them a new lease of life, but also to continue to work on them. To be part of this pursuit of perfection, but at the same time to continue to reflect the wants of society by offering singularly unique pieces is very interesting.

2. Can you tell us your favourite story about one of the bags you’ve sourced?

There are so many stories across the different mediums that we are transforming. One that springs to mind for the Keepall collection is a bag we sourced in Moscow that was originally made in 1991, on which we placed the USSR flag as this was the year of the dissolution of the Soviet Union.

Another bag we found was in Hong Kong that was made in 1997 which was the year of the historic handover so we imprinted this bag with the Hong Kong flag. We also sourced some bags in Tehran which have our Persian rug design reflecting the philosophy of our collections, which is to highlight the imprint of the local culture where the object was used or sourced.

Riss at work in his studio

3. What does your design process typically involve?

The most important aspect of what we do is not the design itself, but the narrative that sits behind and around each piece. So the provenance often leads the design as the actual story of each object is much more interesting, and the design is an extension of the story, but of course, exploring different techniques of texture is a vital part of the design process enabling the execution of the narrative.

Read more: Win two life coaching sessions with Simon Hodges

4. How did your collaboration with One&Only come about?

This is a beautiful topic. One&Only owns a stunning portfolio of unique properties all over the world that really reflects the philosophy of our collection. The opportunity to create a bespoke heritage collection that allows us to showcase the cultural, social and natural aspects of each destination was an incredibly exciting opportunity as this is exactly what we do with all of our collections.

5. When deciding how to celebrate each destination, which elements were particularly important for you to highlight?

There are almost too many elements to consider, so again, we were often led by the bag itself. For example, for Cape Town we had a bag that was originally made in 1994 which was the first year of Nelson Mandela’s Presidency so we created a design celebrating the great man himself.

Similarly, we had a bag for Rwanda that was from 2002 which is when the new Rwanda national anthem was officially inaugurated so we placed the lyrics from the anthem on an interpretation of the national flag. For Dubai, we wanted to showcase the incredible architecture as well as the importance of Islam so we overlaid a blessing on the Dubai skyline. In Mexico, we are fascinated by the contrast of the colour and vibrancy of the Dia de los Muertos with meaning behind the celebrations. In Malaysia, we loved the romance of discovering ancient statues and carvings in the jungle. The breadth of inspiration is also important to us.

6. What’s inspiring you currently?

Given what has happened in the past year, I am getting excited by the future of travel, and how the quality and experience of travel will evolve. As we have seen, anything can happen that impacts society in a dramatic way so what is interesting is to see how we elevate ourselves and I am working on a new project thinking about this, so watch this space.

Follow Jonathan Riss on Instagram: @_jay_ahr_

To purchase one of Jonathan Riss’s bags for One&Only email: [email protected]

Sofia Mitsola (Portrait). Courtesy of the artist and Pilar Corrias, London. Photo: Mark Blower.

In our new online series, renowned art consultant Maria-Theresia Pongracz profiles rising contemporary artists to watch in 2021. Here, she speaks to 28-year-old Greek painter Sofia Mitsola about mythology, the female nude, and her artistic inspirations

Maria-Theresia Pongracz

I first discovered Sofia Mitsola’s work during Condo London at Pilar Corrias Gallery in January 2020. Condo which takes its name from ‘Condo-minium’ is a gallery exchange program founded by Vanessa Carlos in London which now takes place all over the world. I always make great discoveries during Condo and so it was no surprise to come across Sofia’s powerful work. Curiously it was one of the last great shows I saw just before the first lockdown.

With a lot of figurative work in contemporary art recently, it isn’t easy to be surprised. It is also hard for an artist to tick all the boxes and equally master innovation, composition, technique, palette and detail. Sofia really does it all. Her work is seductive and slowly draws you in. Colours, nudity and voluptuous forms are striking, but it is the details and mysterious looks of her subjects that have a haunting effect. The work is beautiful and appalling at the same time. The best art should be challenging and ideally never fully understood.

Afterglow Zenaïda, Sofia Mitsola, 2020. Courtesy of the artist and Pilar Corrias, London.
Photo by Mark Blower

LUX: To what extent are your paintings influenced by greek culture and mythology?
Sofia Mitsola: Growing up in Greece, you study a lot of history, which, when I was little, I only enjoyed when it was about ancient times. I was really into mythology too, and many of the things that impressed me as a child have somehow found a way into the work. When I am painting, sometimes my characters remind me of a mythical presence that I might have read about, or seen in a painting, and once I start imagining them this way, they are almost turned into that.

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After moving to London, I spent a lot of time in museums sketching from sculptures and paintings that I admired. These soon became the starting point for developing ideas and works. When I first began working with figures, I used to visit the British Museum and make drawings from the sculptures at the Egyptian room. I remember a small sculpture of a sphinx I drew from, and reading what these female-like creatures symbolised, made me think of the characters I was trying to compose in a different way. When standing behind them, they are seen as goddesses of protection. When standing before them, they metamorphose into devouring beasts that strangle anyone who dares confront them. I really liked how perspective was used in mythology to give dual meanings, and it was then I started thinking of my own characters as divinities with alluring enigmatic gazes and magical powers.

Cactilus, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London. Photo by Mark Blower.

LUX: How do you go about creating the physicality of your characters?
Sofia Mitsola: When I am composing a character, I am trying to understand who I want them to be and what their relationship is with the viewer. In my paintings, there are usually two focal points, one is the face, and the other the genitals, which are often in the centre of the composition and almost level with the eyes of the viewer. I want the protagonists’ colossal size and bareness to be intimidating yet something to be inviting about their young, innocent like faces and seductive gazes. In my mind, they invite the viewer into a flirtatious game of looking. They stand naked and exposed before them but they don’t shy away. With their persistent gaze and outspread bodies, they take control back. Very much like sphinxes with magnetising beauty and beastly bodies, my figures share similar qualities. Their flushed, angelic faces contradict their gigantic, distorted bodies that border pornography making them a crossbreed of the divine and the monstrous that attracts and repels, invites and drives away.

SPY, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London. Photo by Mark Blower.

LUX: Can you talk to me a bit about the female nude in your work and how it relates to art history?
Sofia Mitsola: For me, the theme of the female nude is very interesting because there are many ways it can be viewed. I understand it from the experience of living within my own body, by relating to them, and also by stepping back and investigating it as a painter/viewer from a distance.

Read more: Artnet’s Sophie Neuendorf on the rise of a new Renaissance

I am attracted to ancient Egyptian and Greek depictions of the female form, that were made to be seen as deities, to be adored and feared. These appear larger than life, geometric, and austere with penetrative gazes. I am attracted to prehistoric figurines that show raw, unashamed, sexual bodies to depict fertility goddesses. In some western paintings I admire, the female nude is shown small and fragile and shy, looking away. There seems to be a safe distance between the nude and the viewer that allows the later to comfortably examine and take visual pleasure from the former, unbothered. But I really like the intimacy in them, the realness of the characters. The feeling that these people lived and breathed and were humans. I feel that for my work, I want a sense of intimacy that I receive when looking at western painting, and at the same time to create a game of power dynamics between the figure and the viewer that is closer to antiquity.

Darladiladada, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London.
Photo by Damian Griffiths

LUX: Where are your favourite places to go for inspiration in London?
Sofia Mitsola: My number one is The British Museum. I always go to the Egyptian sculpture section on the ground floor, and the Egyptian paintings and funerary treasures upstairs. I never miss the Greek vases with the beautiful line paintings, I discover something new every time I look at them and appreciate the simplicity of the marks. Also I really love the National and National Portrait Galleries. At the National, I am always going to the Sainsbury Wing to say hello to one of my favourite paintings, Portrait of a Young Man by Petrus Christus, and then on the other side to see Holbein’s Christina of Denmark. I also love Nymph by the Stream by Auguste Renoir downstairs. At the National Portrait, I enjoy spending time with the Tudor paintings. The Wallace collection is a very special place for me too, where I love to go and see the miniature paintings.

Gorgoneion, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London. Photo by Mark Blower

LUX: What did you get up to during lockdown?
Sofia Mitsola: I was lucky to find my current studio during the first lockdown in May, and since then my life has been pretty much the same. Studio, home, studio. But I’ve really enjoyed how quiet it has been, with no distractions.

When I was stuck at home, I drew a lot, and worked with watercolours and oils on paper, I watched some amazing documentaries about Troy and ancient Egypt and the Russian Revolution, read Nabokov’s Ada or Ardor, Anais Nin’s Little Birds, and Writings from Ancient Egypt, and listened to lectures from a Greek historian, Maria Eythymiou, about the history of the world starting from the first human societies! I also took daily walks in the park, and spent a lot of time cleaning my flat!

Read more: Artist Shezad Dawood on the endless potential of virtual reality

LUX: How the pandemic affect your practice?
Sofia Mitsola: I had the time to slow down a bit and think more of how I want to work in the studio and how to push the practice. I made a lot of drawings which help me give direction to the work, wrote more consistently which for me is another way of drawing, developing ideas, or getting a sense of the atmosphere that I want to convey. I was also making paintings. It’s one of the first times that I worked this way, with all the elements that consist of my practise happening at the same time and it has been really helpful, I feel that the work has had more time to mature.

Tonguelets by Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London.

LUX: Which artists do you admire the most?
Sofia Mitsola: Paula Modershohn-Becker, Leonor Fini, Amedeo Modigliani, Etel Adnan, Petrus Christus, Jean Auguste Dominique Ingres, Artemisia Gentileschi, Konstantinos Parthenis, Paula Rego, Lisa Yuskavage, Hans Holbein the Younger, Alex Katz, Auguste Renoir.

LUX: Are there any contemporary artists with which you spend time and exchange ideas?
Sofia Mitsola: Konstantinos Sklavenitis, Nada Elkalaawy, Ahae Kim, Miriam Naeh, Roy Efrat, Antonia Showering, Alvin Ong, Emma Fineman, Patrick H Jones, and Jane Yang.

Spoilt, 2020, Sofia Mitsola. Courtesy of the artist and Pilar Corrias, London. Photo by Mark Blower.

LUX: Do you think it’s important for an artist to build a good working relationship with their gallerist?
Sofia Mitsola: I guess it’s different for every artist, but for me it’s very important to work with people that I have a good chemistry with and that we can build a relationship. Trust too. You can usually get a sense of that from the first meeting. If it’s good, it’s good. And with Pilar (Corrias) and Charlotte, who I work most closely with, it has been good from the beginning. They support me in every way and always give me complete freedom. And they are a great help when I feel stuck too!

Personally, I really like working with a gallery because it takes the pressure off and allows me to concentrate on the practice and making work. Admin or dealing with collectors can sometimes be very time consuming, and to be honest not my favourite thing. So I am really glad that they can help there. Also, I think that for a lot of young artists like myself, it is difficult to know how to protect the work, and what choices will help or not your career, and it’s quite important to have someone you trust to talk to about it.

LUX: What are your plans for the future?
Sofia Mitsola: I have a couple of projects for later next year so I really want to take my time planning the paintings. For the development of the work, I want to make big drawings with different materials like charcoal and oil bars, I will try to work in three dimensions, possibly with clay that I play with when I am not in the mood for painting, and continue my miniature paintings. When it comes to painting, I have started thinking more about the space, composition and perspective as well as narrative, so this is where the work is heading to at the moment.

Follow Sofia Mitsola on Instagram: @sofiamitsola
Follow Maria-Theresia Pongracz on Instagram: @mt_mathisen

Artworks by Erwin Wurm installed in Cafe de Flore, Paris

Art historian Anne-Pierre d’Albis-Ganem is the founder of the Parcours-Saint-Germain-des-Prés, a yearly contemporary art festival in Paris, and the B&C art and culture member’s club. She is also the co-founder of Spirit Now London which organises exclusive art events, and a board member of numerous cultural institutions across the globe. As part of our ongoing philanthropy series, she speaks to Samantha Welsh about supporting rising artists, the challenges of her work and plans for 2021

Anne-Pierre d’Albis-Ganem. Image by Sonia Fitoussi

LUX: When did you first begin to support emerging artists, and what motivated you?
Anne-Pierre d’Albis-Ganem: I come from a family of art collectors and experts. I was born in Limoges into the Haviland family, a family of porcelain manufacturers. My mother was an art restorer. It is a family tradition to support artists and to become really good friends with them. Haviland, for example, worked with Wassily Kandinsky, who made a tea set for them.

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I first began to collect artists in 2000. The first show I curated was of the photographer Ange Leccia at the Armani shop in 1999. I bought four pictures with my first salary. I then started to collect the artists that I was exhibiting in my annual art show, Parcours Saint Germain, which I founded in Paris twenty years ago.

This exhibition presents about thirty artists in each edition, whom I chose amongst the projects that I like the most and of which I gather a few pieces.

More recently, I have started developing a collection of abstract paintings and I am trying to focus also on women artists like Suzan Frecon and Vivian Springford.

Sabine Pigalle and Philippe di Meo at Celine as part of Sweet Art, the 2007 edition of Parcours-Saint-Germain-des-Prés

LUX: Is there anybody in the philanthropy world who particularly inspires you?
Anne-Pierre d’Albis-Ganem: As an art historian I have always been admiring of all the important philanthropic families such as the Medici family. When I was working at the Centre Pompidou at the beginning of my career I realised how much public museums have been depending on private collectors. Many artworks in museum’s collections come from private donations, sometimes a private collection is the starting stone of building a whole museum.

I also witnessed the creation of collections such as the Fondation Cartier, Louis Vuitton, François Pinault as well as the birth of their private foundations and the opening private museums for the public.

I am also a big admirer of Patricia Sandretto and Frederic Jousset, and of philanthropic initiatives that help young artists and support education and diversity such as Fluxus Charity or Art Explora.

A sculpture at the 2007 edition of Parcours-Saint-Germain-des-Prés

LUX: What originally brought you to found the B&C Club?
Anne-Pierre d’Albis-Ganem: I had the idea of creating a club when I was living in France seven years ago, acting as a board member of the Tokyo Art Club of the Palais de Tokyo. I used to create programs around the current exhibitions and the artists exhibiting for the patrons of the museum. As soon as I moved to London I wanted to create a more international group and to offer my members the possibility to go everywhere. I thought that founding a private project which also raises funds for art and museums would enable me to offer a more diversified program.

Read more: Life coach Simon Hodges on how to break free from destructive behaviour

LUX: What exactly does the B&C Club do, and how did you ensure you get optimum results?
Anne-Pierre d’Albis-Ganem: The club is a private group of patrons, art collectors, intellectuals and open minded people, for which I organise very privileged access to artists’ studios, galleries, museums, art centres but also to eminent curators, museum directors and art historians. For me the key is the assurance of high quality visits and the excellent curating of all the speakers. I look carefully at what is going on in the world and I pick the artists, designers, and curators who I fundamentally believe have something different to say.

LUX: What are your proudest achievements?
Anne-Pierre d’Albis-Ganem: An encounter and talk between Antony Gormely and Idan Segev, an internationally renowned neuroscientist from the Edmond & Lily Safra centre for Brain Sciences of Jerusalem.

LUX: Do you enjoy participating in Fluxus Art Projects? What originally brought you there?
Anne-Pierre d’Albis-Ganem: The former cultural attaché of the French Institute in London approached me as soon as I moved to London to be on the board of Fluxus and its artistic committee. I enjoy it a lot, it is a fabulous feeling to be at the source of the future talents and help them achieve their goals.

LUX: How much of your time does it take?
Anne-Pierre d’Albis-Ganem: It takes a lot of time to read all the different projects and to prepare the two annual board meetings. I would say it takes a third of my time at the moment.

Read more: Keith Breslauer on combining business & charity

LUX: Do you have some specific examples of artists who have benefited?
Anne-Pierre d’Albis-Ganem: Ed Atkins, Ryan Gander, Ulla von Brandenburg, Zineb Sedira, Laure Prouvost and Camille Henrot (currently showing at Lisson Gallery) among others.

LUX: What are the biggest obstacles and challenges you have faced?
Anne-Pierre d’Albis-Ganem: The first lockdown was complicated because my job entails a lot of travelling and organising events with groups, but I immediately signed up to a Zoom pro account and started organising webinars.

LUX: How will COVID-19 affect what you do?
Anne-Pierre d’Albis-Ganem: It is still a challenge particularly in Paris for the Parcours Saint Germain, with my sponsors in fashion. So the main idea is to do the best as I can, work a lot, redesign the web portals, organise webinars, send newsletters articles, and wait and see.

Dior windows by artist Stephane Calais, 2002

LUX: How would you encourage people like you to get more involved in non-profit organisations that support the arts?
Anne-Pierre d’Albis-Ganem: Every event is an opportunity to communicate to my network the need of private initiatives in culture. A great example is a talk we had with Sandra Hegedüs and the Sam Art Projects in conversation together with Catherine Petitgas.

LUX: Any other advice for our readers who might be considering going into the sector?
Anne-Pierre d’Albis-Ganem: Crises often give birth to new opportunities. Keep your eyes and ears open.

Read more: A new honey-based concept restaurant opens in Selfridges

LUX: What led to you co-founding Spirit Now London?
Anne-Pierre d’Albis-Ganem: Spirit Now was the first group, and B&C the second. The main difference between the two groups is that I am the only owner of B&C and its program is more open to philosophy, literature and current affairs.

Installation of work by French photographer Natacha Lesueur as part of Sweet Art, the 2007 edition of Parcours-Saint-Germain-des-Prés

LUX: What does your role as director of the B&C Club entail?
Anne-Pierre d’Albis-Ganem: I am both the owner and director of the club. I curate the whole program, contact artists, collectors, curators, gallerists, museum directors and writers, sometimes from all over the world and invite them either to come to London for a talk, a webinar or a visit. We organise art trips as well.

LUX: What about B&C’s direction, as we head into 2021, what are you most excited for?
Anne-Pierre d’Albis-Ganem: I am creating an international category for the club called B&C Reports – there is a new page on our website. I have invited a curator based in Rio de Janeiro to write articles about his favourite artists which I regularly post on my blog. We also organise webinars with these artists based all over the word. We select them together, record them and post all the webinars. We are also signing partnerships with different institutions to help them support the arts and to develop strongly their philanthropic side.

LUX: Can you tell us a bit about your aim for your new project in 2021 with Parcours-Saint-Germain-des-Prés in Paris?
Anne-Pierre d’Albis-Ganem: We have very ambitious projects for the Parcours 2021. As the current situation limits visits indoors in all of the places where we traditionally exhibited them (Louis Vuitton, Armani, Hotel Lutetia and Café de Flore), we have decided to program a variety of outdoor installations. We are working on a huge installation with the international artist JR and  the students of the famous school for cinema Kourtrajmé which will be produced and installed on the place Germain des Prés. Another project is to create colours and patterns on the pedestrian pathways with Carlos-Cruz Diez, who was a teacher at the School of Beaux Arts and had his studio in St Germain des Prés.

As we wanted to include architecture in our program, we have also invited the Architectural Association and a collective of young architects from Place Furstenberg. Our opening event will be outdoor with chefs and food-trucks, and will aim to combine photography, design, sculpture, fashion, photography, street art, street food and art all together.

Find out more: thebc-club.com

Samantha Welsh is a contributing editor of LUX with a special focus on philanthropy.