Still from Within, directed and choreographed by Benjamin Millepied with music by Thomas Roussel. Photograph by Melissa Roldan

To celebrate the launch of their latest timepiece, Richard Mille invited choreographer Benjamin Millepied and composer Thomas Roussel to create a short film incorporating original dance and music. Here, Abigail Hodges takes a closer look at the performance and watch design

RM72-01

The Richard Mille 72-01 Lifestyle In-House Chronograph is the brand’s first flyback chronograph made entirely in-house, and through its design it aims to weave together tradition and modernity – a concept which is also at the heart of WITHIN, a short film created by Benjamin Millepied and Thomas Roussel, set in the desert landscape of southern California.

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The film brings together the physical wonder of a ballet performance and the powerful sound of orchestral music to celebrate the precise art of watchmaking and Richard Mille’s bold, contemporary design aesthetic.

Both images: stills from Within. Photography by Melissa Roldan

While Millepied’s choreography – performed by two dancers – reflects how classical structure and form may be artistically reinvented, Thomas Roussel’s composition blends orchestral and electronic elements to create a dramatic, vibrant soundtrack which was performed by the 50 musicians of the London Symphony Orchestra and recorded at St. Luke’s Church in London.

Read more: Philanthropist Keith Breslauer on combining business & charity

The watch itself aligns with Richard Mille’s avant-garde approach to time-keeping and design (the watch face, for example, features only the numbers three, eight and eleven), but it is also one of the brand’s subtler and more elegant models. Worn on the wrists of both dancers in the film, it pairs perfectly with their formal costumes and the stark, dramatic landscape.

Watch the film below:

For more information visit: richardmille.com

The Jackie O. Suite at the Villa Kennedy

In the third edition of our luxury travel views series, LUX Editor-in-Chief returns to Villa Kennedy, a Rocco Forte hotel in the centre of Frankfurt, to discover how it stands the test of time

Frankfurt is not a city known for either its romance or its luxury experiences. So, if someone suggested flying there for a romantic weekend, you might start doubting their sanity.

But bear with me here. Having landed at Frankfurt airport, a 15-minute taxi ride through a forest into Sachsenhausen, an area of grand villas, took me to the Villa Kennedy. A villa hotel with a spa a long way metaphorically from the skyscrapers of the city centre – although Sachsenhausen is just across the river from the financial district.

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I had been to the Villa before, when Rocco Forte first opened it in 2006, and was curious to see how Europe’s most endearing (and indeed enduring) hotelier has adapted it to the times.

A view of the hotel’s façade (above), and the gardens

This is a very exclusive hotel and the Zen-like atmosphere virtually wafted me up to the Jackie O. Suite, whose library room was bigger than that in many a decent home, and looked out over a tranquil central courtyard, via an extensive private terrace. The decor was sixties inspired, with swathes of gold, and the coffee table was laden with books on art and design. The bedroom was separated from the extensive bathroom area by corridor so long that you could take your exercise at the Villa Kennedy just by walking the length of your suite.

As well as being a financial capital of Germany, Frankfurt is close to the Rhine winelands, and it was pleasing to see a good selection of those wines by the glass at the Italian restaurant, Gusto, that evening. Gusto is on the ground-floor level by the internal courtyard, and while the weather was not good when I visited, I imagine sitting at a table in the courtyard would be a delightful Italianate experience on a sunny summer’s day.

Read more: How to shop for art online by Artnet’s Sophie Neuendorf

I needed to finish off a presentation ahead of my meetings the next day, and the calm atmosphere and efficient service were just what was required to accompany a laptop, a glass of Trocken Rheingau Riesling and some tuna tartare with ricotta and cucumber. Perhaps, though, the restaurant has missed a trick in being too efficient, feeling like a better place for a corporate dinner or an editor working on a laptop, than a more lingering and languid romantic dinner.

The spa swimming pool

That’s probably due to the nature of Frankfurt, although it’s a bit of a shame. The hotel also has a celebrated spa, which I didn’t have time to visit on my overnight, but which caters to the Frankfurt elite. Combined with the efficient journey, the architecture, location, and magnificence of the suite, a visit to the spa would’ve been a perfect ending to a romantic break, as long as there was a cuisine experience to match. Turn Frankfurt into a lovers’ location: Sir Rocco, you have overcome many challenges in your colourful life, and here’s the next one. It just needs a softening of the dining area to add the right mix of atmosphere, and ecco. Done.

roccofortehotels.com

Keith Breslauer congratulating a wounded British veteran during The Veteran Games

Keith Breslauer is the founder and Managing Director of private equity company Patron Capital, and a trustee and donor to numerous charities including the Royal Marines Charity and the Prince’s Teaching Institute. As part of our ongoing philanthropy series, he speaks to LUX about building bridges between charities and the corporate world, his work with disabled veterans and how philanthropy differs in the US and the UK

Keith Breslauer

LUX: What inspired your interest in philanthropy?
Keith Breslauer: I was brought up to believe that giving what you can is the biggest triumph in life. I took this belief and inspiration from my parents and religion into my career and to help create a platform to give what I can to those who need it, enable others to do the same and make a lasting difference.

LUX: Why did you decide to support the Royal Marines?
Keith Breslauer: I’m from the US where veterans are celebrated on both a public and personal level. However, when I moved to the UK twenty seven years ago, I was disappointed to learn that British war veterans often receive marginal public support. That is why I started ventures that manifested as fundraising for all veterans with a focus on volunteering for the Royal Marines Charity (RMA-TRMC).

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LUX: What led you to create Patron Capital?
Keith Breslauer: Lehman Brothers allowed me to come to Europe and work on distressed assets, which was a niche sector of real estate at the time. I loved being in the UK – everyone said ‘Breslauer is a New Yorker, he’ll never stay’ – but I love that on a typical Friday night (pre-Covid) I have five-plus cultures and languages at my table. So, when Lehman Brothers asked me to go back to New York, I decided to stay and took the leap to start our business with a great team of partners and the rest is history.

Keith with Royal Marines and a team from the Royal Navy on a riverbank during their re-creation of Operation Frankton, which was sponsored by Patron

LUX: What are the principle benefits of a business involving itself in charity?
Keith Breslauer: We’ve worked hard for Patron Capital to be positioned as a leader of successful commercial business while also available for charitable good – rather than just donating funds. As a team we’ve built the business to be a bridge between charities like the Royal Marines and the corporate world. We can offer them everything from business plans, employment advice, office space, secretarial services, to our business contacts and expertise.

We also utilise our business to give a voice to the extraordinary people we raise money for. In 2017, we established The Greatness Lectures, a forum to inspire, educate and create opportunities through Patron’s extensive business network. Through education, The Greatness Lectures can involve every member of the audience and ensure everyone has a part to play in the Patron value of ‘creating a positive change whenever and wherever required’.

LUX: How does philanthropy differ in the US and the UK?
Keith Breslauer: The key differences between the US and the UK lie in the construct of giving, the perception of philanthropy and the landscape of donors. In the US, it is not just tax-deductible, but also a status symbol for many and there are significant givers across the spectrum. However, while in the UK, it is a tax credit and the dynamic of it being a status symbol is far less prevalent – instead, there is much more grassroots support where individuals across the country might not give a huge amount, but they donate what they can on a regular basis.

Read more: Katrina Aleksa Ryemill on helping women in the arts

LUX: Is there anyone in particular who inspires you philanthropically?
Keith Breslauer: There are so many people, but I will always be inspired by Harvey Krueger, an early boss of mine at Lehman Brothers who is known for being the first banker to bring Israel, really, to the international capital markets. He embodied what it means to me to give as he gave a lot of his time and limited resources but remained focused on the primary objective of how to help those who needed it.

LUX: What feels more rewarding: enabling people to get involved in charity, or simply giving?
Keith Breslauer: I am a big believer in doing more than just giving. If you don’t immerse yourself in the act of charity, then you can only help on a superficial level and you will never understand the satisfaction of knowing what a difference you’ve made. To understand what a charity stands for – getting under the skin of why you’re trying to raise money – you need to endure some sort of hardship to help. You need to get know the people you are helping. At Patron, we encourage employees to take part in fundraising events that help people push their own preconceived limits. For example, in 2019, Patron sponsored Rock2Recovery’s flagship fundraising event – a sponsored climb of Ben Nevis in Scotland – and we were really proud to see an all-female team from Patron join the 140 climbers taking part. In total circa £26,000 was raised for the charity.

Keith (top) with his youngest daughter Samantha on Mont Blanc Massif, and at the summit of Pointe Percée

LUX: How has your religious background influenced your charitable work?
Keith Breslauer: My religious background is incredibly important to my approach to charity and giving – it’s the core of it really. For a start, a principle of the Jewish faith is to give away about 10% of what you earn, and I adhere to this with my time and money. Next, there is the concept of ‘tikkun olam’ which comes from Mishnah, a body of classical rabbinic teachings, and is defined by acts of kindness performed to perfect or repair the world. This is key to how I was raised and how I try to live my life; if you have the ability to make a difference then you should whenever and wherever you can.

LUX: What is the biggest lesson you have learnt in your lifetime?
Keith Breslauer: I have learned so much throughout my life and I am still learning, but one of the biggest lessons that has stayed with me comes from the late Lord Rabbi Sacks, and that is about working hard and seeing the possible where others see the improbable. We can achieve more than we think we can if we try.

Read more: Entrepreneur Wendy Yu on creativity & charity

LUX: How has Covid-19 affected your philanthropic efforts?
Keith Breslauer: In the first few months of lockdown, it was really difficult for everyone as no one knew what the future would hold – everyone suffered. We tried to stick to a routine at Patron and this is why we took the Greatness Lectures, a forum to educate and inspire the Patron team, our friends, and partners, online. This included “Reports from the COVID-19 Frontline” with Dr Seb Vandermolen and Nurse Laura Pinches, who had both been working on adult COVID-19 wards at St Thomas’ and St Bartholomew’s hospitals respectively.

Alongside our efforts to establish The Women In Safe Homes Fund, believed to be the world’s first gender lens property impact investment fund being launched as a solution to the lack of affordable, safe and secure homes across the UK for women and their children, who are experiencing homelessness or who are at risk, I’ve made a personal commitment of £1 million to demonstrate how important this fund really is. We’ve also organised a Greatness Lecture with Chloe McCardel and Jane Jutsum to share different perspectives on domestic violence and providing help and inspiration to its survivors. Chloe is an elite athlete whose love of marathon swimming helped her recover from post-traumatic stress disorder, and she holds the world record for the longest non-stop ocean swim – 124km. Jane Jutsum is Director of Business Development at Solace, a charity that exists to end the harm done through violence against women and girls.

All of our charities have suffered this year; the Royal Marines Charity (RMA-TRMC) alone needs £1.5 million of vital funds. We’re always looking for ways of raising money and connecting those who wish to help with any one of our 30 charities.

LUX: What has been the most surprising discovery in your philanthropic activities?
Keith Breslauer: The most surprising thing for me to discover is the significant impact we can have through the multiplier effect of dedicating both time and money, rather than just one or the other. Our initiatives focus on funding projects and events with the potential to harness a multiplier effect either driving further donations, raising awareness, or helping deserving individuals who have suffered injury, illness or disadvantage achieve personal goals and build self-esteem.

Keith with the in-house climbing wall at Patron Capital

LUX: What are your passions outside of business?
Keith Breslauer: I’m obsessed with mountain sports, especially skiing, and climbing. I even had a climbing wall fitted in our office. When I first moved to the UK, I was introduced to European mountaineering through a trip to Mont Blanc. My wife told me I was only allowed one trip, but I’ve been addicted ever since and have now climbed, notably; Old Man of Hoy, Denali and various summits and routes in the Mont Blanc Massif. I also strive to incorporate social impact into everything and anything I do. And, last but not least, my family – they are everything to me.

LUX: How have you combined those interests with charity work?
Keith Breslauer: My personal philosophy on life and in business is to lead by example. Through working with the Royal Marines Charity (RMA-TRMC), I’ve been able to share this approach undertake challenges with some extraordinary individuals that also raise awareness and funds for those in need. For example, in 2017, we sponsored The Royal Marines’ recreation of Operation Frankton, an 85-mile paddle and a 100-mile run described as the most courageous raid of World War II. This commemorated the 75th anniversary of the legendary feat which was immortalised in the 1955 film ‘The Cockleshell Heroes’ and raised money and awareness for the charity. I joined the team as we retraced the route of 10 commandos who paddled up the Gironde estuary in December 1942 to attack enemy German ships moored at the port of Bordeaux in occupied France, before making the 100-mile journey on foot to rendezvous with the French Resistance in Ruffec. Only two men survived to tell the tale – the others succumbed to hypothermia or were executed by the Germans – but the operation’s significance reportedly led Winston Churchill to say he believed the raid could have shortened the war by six months. For me, our re-enactment was a once-in-a-lifetime experience.

LUX: Should we expect to hear of any upcoming projects?
Keith Breslauer: I’m looking forward to working with disabled veterans as they take on new challenges, including in the near future with a disabled veteran Mark Bower. More generally, we have a range of both adventure projects and practical projects with different charities to drive reach and penetration where charities have lost traditional channels of outreach and fundraising due to the pandemic.

Find out more: patroncapital.com

A ring design by Katherine James

Collector and dealer of modern, vintage and antique fine jewellery Katherine James runs her eponymous brand from her home in London. Here she talks to Abigail Hodges about social media, her experiences of working in traditionally male-dominated industry, and creating a nail varnish from crushed gemstones

Katherine James

1. Do you remember when you first became interested in gemstones?

I grew up in London in the eighties when the jewels were physically bigger, and they completely captivated me. My Dad was pretty terrible at buying presents, so he would give me jewels, and so I was hooked from a young age. I even used to sell mood rings at school. To this day I still get a funny feeling when I look at a beautiful gemstone – jewels draw me in like magnets.

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2. What made you want to deal jewellery and how did your business start?

In some ways, jewellery is like a sparkly bank account; buying it can feel guilt-free because you are investing. Jewellery is also a way to connect. A lot of people come to us when they have lost someone, and that doesn’t necessarily mean buying heavy Victorian mourning jewellery. I had a woman who wanted an aquamarine to match her deceased husband’s eyes. Jewellery is an object that can express a personal feeling, and it can represent important milestones in people’s lives. It’s wearable art that gets passed down through families.

The business started on Facebook and grew to Instagram with some persuasion from my kids. It is usually a male-dominated industry, whereby everyone is very matter-of-fact about things, but I was selling as I bought in, and it gave me the freedom to talk about how much I personally loved a piece. It grew and grew on Facebook, and we are now at about 15,000 people. Before it was heavily a female demographic, but we are now also dealing with male clients, which is very exciting!

3. What has your experience been like working in a traditionally male-dominated field?

The jewellery trade is a funny old place; it is a singular sort of profession. You don’t have a shop as you are mainly trying to source jewels, and as I have been social media-based, I tend to build a relationship with people very quickly, in a personal way.

Read more: Château Mouton Rothschild’s artistic collaboration with Xu Bing

It was initially daunting for me at the fairs. People always assumed that I was part of the public rather than a dealer. I am lot younger, and most of the people I deal with in the industry are men. It was necessary for me to be taken around and given an introduction, and it was from there that I was able to build relationships.

4. Do you think your position as a younger woman accounts for your online success?

A lot of the old guard don’t use the internet at all, and it is the kids that are taking social media on, and doing really well. Unfortunately, I have heard that recently quite a lot of the old trade has had to shut up shop. The internet is taking over, but at the same time, it gives women a safe space in the jewellery world. So you could argue that going forward, women are going to have an advantage over men in some ways. As a woman, I wouldn’t want a shop as you inevitably put yourself at risk; I don’t know anyone in the trade that hasn’t been robbed in some way.

5. Have you noticed any jewellery design trends emerging recently?

Yellow gold is coming back with a bang! Whilst there has certainly been a big demand for platinum in the modern day, it is almost impossible to work with as it has to be heated to such a high temperature. There is also a trend towards minimalism in terms of materials; contemporary consumers want the thing to be the thing that it says it is.

6. What’s next for you?

For years, my nails were always shocking because I couldn’t see beyond the ring I was wearing and so we decided to make a nail varnish. We are going to crush up gemstones and use them to make a nail varnish which also doesn’t chip. You can have nails to match your ring and vice versa. It also means you can get an emerald on every finger for way less than the price of an actual emerald. We are trying to recreate that magnetism that comes from being in the presence of a great gemstone, but with nail varnish.

View the collection: kjj.rocks

Hive restaurant is located on the third floor of Selfridges, London

Tomorrow, Hive restaurant officially opens its doors on the third floor of Selfridges with a creative honey-based menu

For thousands of years, honey has been used as a natural sweetener and remedy to help reduce anxiety, calm insomnia, and combat fatigue. Drawing on this multitude of benefits, Khalid Samata, the founder of Selfridges’ newest concept restaurant Hive, has created an innovative menu incorporating different types of honey into an all day-dining menu which includes a cheese and honey afternoon tea and honey-based cocktails such as the Nutty Naughty Bee – a mix of gin, lemon juice, Tonka bitter and chestnut honey. The breakfast menu features decadent dishes such as fig on toast with ricotta and honey, and truffle honey omelette, whilst the lunch and dinner menus focus on fresh, lighter options.

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Hive’s range of honey includes flavours such as acacia, chestnut and buckwheat

The restaurant produces and harvests its own range of flavoured honey from a collection of rooftop hives, and the interiors of the dining room itself have been designed to create a calming, elegant atmosphere with gold detailing and a collection of colourful flower boxes which have been pollinated by the resident bees.

Hive opens on 4 December 2020 on the third floor of Selfridges, London. For more information visit: hiverestaurant.uk

Pink Floyd’s David Gilmour at Château de Chantilly outside Paris. Photograph by Gavin Elder

Filmmaker Gavin Elder has created films for the likes David Lynch, Mark Ronson, Duran Duran, ACDC and Pink Floyd’s David Gilmour. Here, he speaks to Paige Nelson about his career highlights, the challenges of shooting in a Roman amphitheatre and capturing the atmosphere of live music on video

1. Did always want to work in the film industry?

I picked up my Dad’s Super 8 camera when I was ten years old. The unique Super 8 sound, and the tactile feel of film running through the camera lit something inside me.

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2. Who have been the most interesting people to work with so far?

Working with David Gilmour has been an absolute high point. I remember the very first day we started filming at Bray Studios, he was rehearsing with the other members of Pink Floyd [Rick Wright and Nick Mason], and someone shouted, ‘Let’s do C Numb!’ They launched into ‘Comfortably Numb’, and the hairs on the back of my neck jumped up.

Fans at an ACDC concert in Buenos Aires. Photograph by Gavin Elder

3. How do you create the atmosphere of a concert in a film?

This varies from artist to artist, but I think the most important element is for the performer to be relaxed enough with the process of filming that they focus on the music and their performance. My role is to then select camera positions and capture the show without being obtrusive. The musical highlights, subtle glances and infectious smiles between band members together with the audience create the magic.

Read more: Chopard’s Caroline Scheufele on versatile jewellery design

4. Is there any person you would drop everything to do a documentary on?

Don’t they say you should never meet your heroes? Working with David Lynch on a project for Dom Pérignon was extraordinary; he had such a great sense of humour and incredible focus while working. I remember the laughter, and a great sense of team work.

In 2011, Elder created a short film capturing behind-the-scenes footage of David Lynch (above)  shooting Dom Pérignon’s new campaign. Photograph by Gavin Elder.

5. Are there any artists who have inspired your works?

I think street art as much as fine art has influenced my approach. I’ve made films with Faile, Shepard Fairey and street artist Ludo. Giles Walker made a phenomenal piece titled The Last Supper which I documented. I travel extensively and different cities around the world contribute to the vitality and energy in my work.

6. What are biggest challenges of any project, and how has the pandemic affected the film industry?

When we filmed Live At Pompeii all the equipment had to be hauled by hand down a specially built road to the edge of the Roman amphitheatre – a logistical challenge, which the local Italians rose to. During the show, a rogue drone flew dangerously low over the audience and a laser team tried to disable the drone’s camera with a focused laser beam. The drone footage has never surfaced so perhaps they were successful.

The pandemic has been devastating [for the film industry]! Numerous projects have been cancelled, although some work has started to trickle back now. There have been some interesting online concerts and new approaches to entertaining fans, but it’s difficult to replicate the live feel, the bass in your chest, the shared experience, the intensity.

Follow Gavin Elder on Instagram: @gavin_elder

La Muña restaurant at La Réserve Eden au Lac Zurich.

In the second of our four part luxury travels view column, our editor-in-chief Darius Sanai discovers the elegant alpine charm of La Réserve Eden au Lac Zurich

Have you come across a La Réserve junkie? They are fans of one of Europe’s most distinctive and chichi luxury hotel groups, a kind of micro-version of the original Aman concept. There are La Réserves in Paris, Geneva and Saint-Tropez. The Geneva and St-Trop (in fact, Ramatuelle, on the coast just outside) properties have similarities. They’re both resorts, with delicious swimming pools – Geneva’s is the city’s most bijou pool and spa, as well as an outdoor pool with a country-club feel for the summertime.

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So, I was interested when the owner of the La Réserve group, Michel Reybier, told me that he was opening a La Réserve in Zurich, not a city known for the quality or variety of its luxury hotels. But where would it be? Just outside town, on a greenfield site near the lake, like Geneva? Or a city centre hotel like Paris?

The view from one of the hotel bathrooms. Image by G Gardette

The answer is, a bit of both. The La Réserve Eden au Lac is, as its name suggests, set on the shore of Lake Zurich, a ten-minute walk or five-minute taxi ride from the heart of downtown. It is still in the city centre, a conversion of one of the city’s most celebrated properties, Hotel Eden, which had become a little neglected.

Read more: How ethical blue economy investments support ocean conservation

My room, on the second floor, with a small balcony, had an entrancing view across the lake to the Alps beyond. The interior was just delightful. The bed was in the centre of the room, with a writing desk behind, a blend of 20th-century modern and contemporary touches in the design, bare walls, Ibiza-style white drapes and some beautiful Swiss marquetry.

The Eden Suite at the hotel

Reybier has made the Geneva and Saint-Tropez properties destinations in themselves due to their dining and bar options. Would Zurich be the same? The Eden Kitchen & Bar is melded into the lobby restaurant and, while many people would enjoy their Cecconi’s-type vibe, I like my hotel bars to feel a little bit more exclusive, more club-like.

Fortunately, Reybier also appointed Philippe Starck to create La Muña on the top floor. With a view across the lake and city on a clear summer day, it’s also a curious and rather wonderful mix of Alpine and ‘yachty’ (the concept is ‘an imaginary yacht club created by Starck’) in an attic-type space in the rafters of the building. It really feels like an Alpine chill-out bar serving fabulous Japanese food, with a hint of South America. Creamy spicy salmon tartar with tobiko, sesame, jalapeño and fried rice was gorgeous, as were the grilled vegan gyoza. La Muña also has a very painstakingly sourced list of Swiss wines, the best of which were superb and hard to find.

Chapeau, Monsieur Reybier, you may just have created your best Réserve yet.

Find out more: lareserve-zurich.com

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

The vineyards of Château Mouton Rothschild. Photo © Studio Goodday. Courtesy Château Mouton Rothschild

This morning, Château Mouton Rothschild revealed its latest artistic collaboration with Xu Bing. We take a closer look at the Chinese artist’s label design for the 2018 vintage

Since 1945, Château Mouton Rothschild has invited an artist to design a label for its latest vintage. The collection of miniature artworks, which are transferred onto the wine bottles and also exhibited in a special gallery in the château, features some of the most famous artists from the past 100 years including the likes of Pablo Picasso, Salvador Dali, Francis Bacon, David Hockney, Jeff Koons, Gerhard Richter and now, Xu Bing.

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One of China’s most renowned artists, Xu Bing is best known for his installations which often explore the relationship between image and language. His artwork for the 2018 vintage label is a continuation of his ‘square word calligraphy’ series which originally involved the artist organising English letters into structures that resembled Chinese characters. The idea was to break down cultural barriers by demonstrating the similarity of components in both languages and therefore, demystify the Chinese written language for non-Chinese speakers.

Xu Bing’s label continues his ‘square word calligraphy’ series

For this artwork, the pair of elegant, stacked symbols once again appear to be an example of traditional Chinese calligraphy, but the characters are, in fact, composed of the Latin alphabet and denote “Mouton Rothschild”. 

Read more: Fashion entrepreneur Wendy Yu on creativity and charity

Château Mouton Rothschild’s 2018 vintage with label design by Xu Bing. Photo © Studio Goodday. Courtesy Château Mouton Rothschild.

The design’s inspiration comes from the layered experience of tasting wine, each character reveals itself as the reader engages more deeply with the image, but also with the idea of history, symbolism and reinvention. By reimagining the literary shape of the iconic winery, Bing symbolically suggests the possibility of new discovery in the old.

Discover Château Mouton Rothschild: chateau-mouton-rothschild.com

Wendy Yu on her trip to Rwanda with Women For Women International charity

Fashion entrepreneur Wendy Yu is the founder and CEO of Yu Holdings, an international ambassador for the French Fédération de la Haute Couture et de la Mode, and a supporter of The Metropolitan Museum of Arts, BAFTA and numerous other charitable foundations. As part of our ongoing philanthropy series, LUX speaks to Yu about her long-standing commitment to the arts, female empowerment and children’s education

LUX: As well as supporting the Costume Institute at the Metropolitan Museum of Art, when did you first have the idea to set up a China program and why?
Wendy Yu: Having spent many years residing in London, travelling for business and working with international organisations, upon returning to Shanghai to live a few years ago, I felt an immediate sense of responsibility to my country in terms of helping to shape the creative and cultural space and provide a bridge between East and West.

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This is why conversations about China with The Met were initiated. Having been fortunate enough to spend some time with Andrew Bolton, I wanted to give the design community in China the opportunity to meet him and understand more about his work at The Costume Institute. The Met has such a big following in China, but mostly because of the Met Gala, and yet there is so much more to know and learn.

I invited Andrew to China in 2017, where he and Angelica Cheung co-hosted an event to meet emerging Chinese designers. I’m passionate about providing a platform for creative and cultural exchange.

Wendy Yu at The Met Gala

LUX: Have you always been passionate about costume?
Wendy Yu: I’ve always been passionate about fashion as part of the wider creative industry. Fashion and costume are so intrinsically linked to a sense of identity, emotion, stories, a moment in time and culture. It’s also provides us with an opportunity to dream, and further nowadays, share our voice as our wardrobe is beginning to say something about our values.

LUX: Is there anyone the philanthropy world who particularly inspires you?
Wendy Yu: Amal Clooney, and Queen Rania.

LUX: What exactly does the Women For Women International charity do, and how do you ensure your support is optimal?
Wendy Yu: Supporting women is one of my priorities and I have loved to support Women For Women International as they are a wonderful charity dedicated to helping women, who are living in areas of conflict and are often marginalised. I travelled with Women For Women to Rwanda a few years ago to meet some of these women, and it was one of the most enlightening and heartfelt experiences of my life. It was incredible to see how these women had benefited from Women For Women’s training program, which provides them with the necessary skills to become financially independent and support their families.

Wendy with some of the women helped by the Women For Women International charity in Rwanda

LUX: Do you think that the role of private philanthropy is becoming more important, with increasing limitations on government funding?
Wendy Yu: Absolutely, particularly for the creative industry and especially at the moment, where much of government funding is having to be redirected due towards the pandemic. With philanthropy comes a true personal passion and commitment, often deriving from a special relationship that goes beyond financial support and can be truly game-changing for the people and organisations on the receiving end.

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

LUX: In terms of your support for the educational prospects of China’s children, is there anything that concerns you about the path ahead for Teach for China, and what made you decide to launch an art fund?
Wendy Yu: I believe in the importance of creativity in enhancing our lives and particularly that of children. Teach For China does an incredible job at providing education and facilities for children living in rural areas of China. What I felt I could bring to the table as one of their committee members was to provide the means for them to integrate art in their program, a subject that can often get sidelined when there is a lack of funding. Together we established an art fund, which would see the funding of art teachers and the necessary materials for schools in rural areas.

Wendy working in one of Teach For China’s classrooms

LUX: Do you enjoy collaborating with Teach for China?
Wendy Yu: Very much so. Working with Teach For China has given me the opportunity to meet and spend time with the children who are benefiting from the art fund, as well as integrate their artwork in some of my own projects, including a clutch for a collaboration I did with Olympia Le-Tan where we used an artwork created by one of the students.

LUX: How will COVID-19 affect what do you do?
Wendy Yu: Covid hasn’t impacted my interests and what kind of initiatives I am directing my energy to; the causes I am committed to continue to be the arts, female empowerment and children’s education. That said not being able to travel means that at the moment any activity is by default mostly China centric.

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We have just launched the Yu Prize, which is an annual award and incubator program to support promising emerging fashion designers from China. The CFDA, the BFC, Camera Moda and FHCM are so good at championing creativity and providing a support system for their rising stars; this is something that is lacking in China and yet we have a burgeoning fashion community of very talented designers. I’m excited and want to nurture this generation of designers, who compared with their predecessors, have mostly studied abroad (CSM, LCF, Parsons) and so are more globally minded. They marry this with a sense of pride of their cultural roots, and from this a new wave of creativity and confidence is born, which serves to reposition “Made in China”. Huishan Zhang, Guo Pei and Caroline Hu craft many, if not all, of their demi-couture pieces locally in China to an international standard.

Wendy Yu (middle) with Anna Wintour and Andrew Bolton

LUX: Do you often get to personally experience the difference you have made to a foundation or group?
Wendy Yu: My philanthropy has always stemmed from a personal relationship and a special connection that I have felt with a cause and therefore my involvement tends to be hands-on. It’s incredibly grounding and rewarding to be close to the people whose lives and/or careers are being transformed. Equally working with organisations that are specialised, and have the power and platform to make a difference is very inspiring. In today’s world and coming from a position of privilege, I believe in the importance of doing good as part of a wider definition of success.

LUX: Any other advice for our readers who might be considering going into the sector?
Wendy Yu: Follow your passion. Have in mind a wider sense of impact that you would like to make to a particular sector or area of interest, and then cultivate specific objectives and tangible projects that can be brought to fruition. Work closely with professional organisations that align with your vision and from whom you can learn more and gain access, however don’t be afraid also to champion people on a more personal level.

Find out more about Wendy Yu’s work: wendy-yu.com