Under the theme of “Conversations With Nature,” this year, six artists from five continents have traveled to Reims and created works of art based on their personal impressions of the landscape they encountered there

Brazilian artist Henrique Oliveira is creating a scuptural installation for Ruinart, preferred champagne house of every self-respecting next gen oligarch, at Frieze London this year. Cleo Scott investigates

Henrique Oliveira’s forms spring out of the ground like inverted roots. A Brazilian-born painter and sculptor who works between his São Paolo and London studios, his large-scale sculptural installations are known as ‘tapumes’, or ‘fencing’ in Portuguese, which reference the wooden construction fences seen throughout São Paolo.

Oliveira is known for his works exploring the tension between nature and urban life

Oliveira uses lengths of stapled wooden tubing to create organic forms, which are then covered in layers of thinly applied wood, which he selects for their weathered and knotted surfaces. This results in bark-like forms that are at once natural and supernatural.

Oliveira’s project for ‘Conversations with Nature’, part of the Carte Blanche 2024 artists’ initiative from chi-chi Champagne house Ruinart, draws inspiration from the underground world of the Champagne region.

Follow LUX on Instagram: @luxthemagazine

From a network of chalk pits that provide the ideal environment for vines to grow, to the wine cellars of Ruinart, there seems to be as much life beneath the soil as above. Oliveira unearths this subterranean realm. His forms are roots of vines climbing above ground, seemingly alive in their writhing and twisted compositions.

While Oliveiras paintings evoke an organic proliferation of colors, his sculptures create the illusion of vegetal roots emerging in the urban environment

Forms are taken directly from nature and created using its very materials. However, the impossible distortion and scale of the work introduces an element of the supernatural – something beyond nature – only possible with the hand of man.

Ruinart’s Carte Blanche – not to be confused with Ruinart Blanc de Blancs, the maison’s all-Chardonnay champagne which is the daily pick-me-up of the ultra high net worth party set – this year brings together an international group of artists who centre their work around their connection and commitment to the natural world

Read more: Joel Mesler’s Californian Art at Château La Coste

Six artists travelled to the Champagne region, invited by Ruinart to use their diversity of mediums and practices to ‘converse’ with the landscape of the Maison Ruinart vineyards. Of this collective, the work of Henrique Oliveira and Marcus Coates will be exhibited within the Ruinart Art Bar at Frieze London, amid a backdrop of much Blanc de Blancs imbibing, from October 9th to 13th.

His art is sensitive to sustainable development issues and draws inspiration from the parasitic dimension of these structures, while also highlighting the importance of a mindful use of natural resources

Oliveira’s work embodies the relationship between man and nature at the heart of Ruinart and its Carte Blanche. In observation, understanding, and conversation with his subject, Oliveira breaks down the vine and reconstructs it, rather like the journey of the grape from a vineyard to the bottling of champagne – and onwards to the upper pool deck of that yacht moored off Pampelonne beach.

Find out more: runairt.com

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Gerard and Kelly: “E for Eileen”

The Engadine, the high valley in Switzerland that is home to St. Moritz, also houses the literary village of Sils, some of the world’s most interesting small museums and art initiatives, and some of its biggest art collectors. In this ecosystem, a relative newcomer, the St. Moritz Art Film Festival, is taking root, supported by some high-level collectors. The festival opens after Venice’s spectacular film festival, with a different brief, and in what has traditionally been a quiet month in St Moritz where wealthy residents have taken flight and when many of the luxury hotels are closed: a time when it is difficult to achieve traction. LUX Editor-in-Chief, Darius Sanai asks the Festival’s director, Stefano Rabolli Pansera, formerly the director of Hauser & Wirth in St Moritz, about what he hopes to achieve with this bijou concept.

LUX: Why is this different to any other film festival, and how?

Stafano Rabolli Pansera: The St. Moritz Art Film Festival is defined by the following four distinctive elements:

1. The festival takes place in the newly reopened Cinema Scala in the centre of St. Moritz, surrounded by the nature of the Engadine Valley. The Engadine marks the hinge between North and South of Europe: it is located at the centre of the continent, yet it feels detached from it, thus providing a critical distance to our timely issues.

2. As the name of the Art Film Festival highlights, the programme connects tradition and innovation as it lies at the intersection of arthouse cinema, video art and commercial cinematographic productions. Therefore, the scale of the festival remains intimate and exclusive, but also invites a broader audience to attend and participate in the different offerings.

Follow LUX on Instagram: @luxthemagazine

3. A cultural event with a significant territorial impact. The festival is a spatial happening: it is an event that attracts new audiences to the Engadine, it extends the tourist season by operating as some sort of territorial catalyst. St. Moritz Art Film Festival wants to be a one-of-a-kind festival, leading the path to sustainable cultural tourism in one of the most beautiful valleys, the Engadine. The festival’s unique landscape and surroundings invite to a responsible and sustainable use of the Valley’s resources and facilities.

4. The festival is curated as an exhibition of video art. A yearly curatorial theme is carefully chosen as the common thread of the programme of screenings, conversations, and collateral events during the year. The outcome is a coherent development of a strong annual theme, that triggers factual, philosophical and cultural debates, leaving a strong impression on the audience. The life of festival unravels throughout the years with a coherent development of different themes that are related to each other and create some sort of narrative.

Amshu Chukki: “Different Danny”

LUX: How has the art scene in St Moritz developed recently?

SRP: The Engadine has always been a source of inspiration for artists and thinkers: from Nietzsche to Gerhard Richter, from Alfred Hitchcock to Claudio Abbado. In recent years, thanks to extraordinary gallerists such as Bruno Bischofberger, Carsten Greeve and Hauser & Wirth, amongst many others, and thanks to enlightened collectors, the Engadine has become a unique context for exhibiting and divulging art.

Initiatives such as Muzeum Susch, Proyectoamil, and Engadine Art Talk, the Engadin has been transformed into an active centre of artistic production and a laboratory of ideas. The main differences with the past are the expansion of the cultural scene beyond St. Moritz into the entire Engadine valley and the emergence of an organised network of institutions that provide a constant cultural programme beyond the seasonal affluence of tourists.

Robert Cahen: “Juste le temps”

LUX: What is your main aim for the festival?

SRP: The aim of the St. Moritz Art Film festival is to reinforce its position as a leading cultural force in the international landscape of cinema and video art by offering a platform for sophisticated films and unique videos and for developing a consistent curatorial and philosophical discourse.

The St. Moritz Art Film Festival will always be an exclusive Festival: it is going to find a position in the circles of Video art and films d’essai. Yet, we aim to enlarge the audience and to attract famous and inspiring personalities from the world of Cinema and Video Art.

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

Furthermore, we are building a year-long programme of events, in order to maintain the interest for experimental films alive. We are aware of the impact of the Festival in the local scene and we hope to be able to generate a robust economy by attracting international audiences and by employing a larger number of people for different programmes and for a longer period.

Ila Beka Lemoine: “The Sense of Tuning Stills”

LUX: What are the most interesting elements in this year’s festival?

SRP: The annual theme of the third year is “Meanwhile Histories” and it questions the notion of time which is commonly associated with history, a linear succession of one event after another. But time is an overlapping of multiple experiences that occur simultaneously. There are always multiple sides to events and occurrences.

Young jun Tak: “Love your clean feet on thursday”

However, the dominant historical perspective often cancels the multiplicity in favour of a linear understanding of events. What remains is always set by the main narrative, which can shape and control how history is remembered, what is neglected and silenced, and crucially, what history is passed to future generations.

Read more: The Richard Mille Art Prize at the Louvre Abu Dhabi

To approach minor or forgotten histories, perhaps it would be helpful to think of alternative temporalities in terms of “meanwhile”. When we read the dominant history, we must think about what else was happening “meanwhile”.

“Meanwhile Histories” challenges the dominant narratives that have shaped our understanding of history.

The collectors say:

Gerd Schepers  is a Swiss art collector and one of the supporters of the festival. “It’s brilliant that Stefano is bringing this kind of content to the Engadin and the program definitely opens up a fresh perspective in a traditional commercial space with lots of untold stories.”

Aleksandra Pusnikcollector and supporter of thefestival: “The village of St. Moritz per se has always been a special place. On the surface, it carries a connotation of a place of ultimate luxury, only reached by the rich and famous. The Art Film Festival, with its choice of films, taps into the layers below this surface, only to discover the depth of the messages which get sent to the viewers, which in return addresses the masses, all of us, the planet. As the festival closes each year, I feel enriched by these messages as well as pensive about their content.”

The festival will take place from the 12th to the 15th of September 2024.

Find out more: smaff.org

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Joel Mesler: Me, you and the sunset. Photograph by Francois Deladerriere

A striking new show by Joel Mesler brings nature, light and life to Château La Coste in the south of France, a place not short of any of these qualities. “Me, you and the sunset” is quite mesmerising

You can’t walk around the grounds of Paddy McKillen‘s Château La Coste without bumping into a museum-spec artwork. A Louise Bourgeois spider here, a Damien Hirst there, site-specific works by the likes of  TungaBob Dylan, Tatsuo Miyajima, or Sophie Calle there. In total, there are about 40 artworks in the grounds.

Crounching spider by Louise Bourgeois. Photograph by Andrew Pattman

Follow LUX on Instagram: @luxthemagazine

Psicopompos by Tunga. Photograph by Andrew Pattman

As if that’s not enough, the estate complex in the heart of Provence also has three exhibition pavilions or galleries that host temporary and rotating exhibitions.

This summer, Californian artist Joel Mesler is showcasing his exhibition “Me, you and the Sunset” in the gallery designed by architect Richard Rogers.

The Richard Rogers Gallery at Château La Coste

Mesler’s show is inspiring. His twelve new paintings represent a series of connections between an individual (the self) and the landscape, as well as the people within it.

Joel Mesler: Me, you and the sunset. Photograph by Francois Deladerriere

The body of work reflects Mesler’s own views during his visit to the Château the previous summer. The paintings and sculptures, reflect the luminous sunsets of Provence.

Read more: MedBodrum: A New Type of Luxury Festival

There’s hints of Van Gogh there, but also the Californian in Mesler, who seems to pick up on the refractions and shades created by the Saharan desert dust that the high atmospheric Sirocco winds carry northwards here, a link to the desert skies in the east of his home state. Mesler’s paintings tell woven, personal tales.

Joel Mesler: Me, you and the sunset. Photography by Francois Deladerriere

The colorful, almost neon-like glowing paintings feature simple words like “ME,” “YOU,” “LOVE,” and “SUNRISE,” reflecting the recurring themes in Mesler’s art.

Read more: Nachson Mimran’s photography at the Leica Gallery

They serve as a reminder of the iconic Beverly Hills Hotel in Los Angeles, which was a significant part of his youth. And also of the artistic links between southern Europe and southern California, an area fortified by this strikingly curated show.

Joel Mesler’s exhibition “Me, you and the Sunset” can be visited from July 7th until September 8th, 2024, every day from 12:00 p.m. to 6:00 p.m.

chateau-la-coste.com

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A sustainable blue economy is essential for the world’s future economic growth and environmental preservation

Markus Mueller, global head of ESG in the chief investment office at Deutsche Bank, has clear views on the transformation required to create a sustainable economic system. Meanwhile Jean-Baptiste Jouffray, of Stanford University and previously the Stockholm Resilience Centre, is a leading young thinker around the effects of our era on the oceans. LUX Editor-in-Chief Darius Sanai brings them together for a refreshing and thought-provoking conversation.

What happens when a leading economist with a strong understanding of science and a focus on the oceans, and a brilliant young ocean scientist with an interest in economics, get together? Fireworks, or at least one of the more interesting conversations to be had over Zoom.

I first introduced Markus, a good friend and at that point also a client of ours, and Jean-Baptiste, whose charm and perspective on the oceans and what needs to be done had always intrigued me, a year or so ago, and we decided a free-ranging chat about the economy, oceans, and the United Nations Sustainable Development Goals (SDGs) would be compelling for our readers. So we came together again, over Zoom, and it was as engaging as I had hoped.

Markus is a thought-leading economist and also a realist; Jean-Baptiste is a brilliant thinker on the oceans but also knows sustainability is indelibly linked to economic systems. Let the conversation begin.

Follow LUX on instagram: luxthemagazine

Darius Sanai: Let me start with the question of shifting baselines. As I understand it, that means that people of a certain age or coming into awareness at a certain time have a different experience of the world than those who remember things 20, 30 years prior, in a world that’s rapidly changing.

Specifically when it comes to the environment and nature, although that could also include politics, economics, and everything else. As a basic example, a child today could thinks 40 degree summers and green winters in the Alps are “normal”. How important is this? Is it a universal negative? And how do we address it?

Markus Mueller: I think shifting baselines is something which fortunately makes humans and societies resilient. Because they automatically, through the shifting of baselines, adapt to the new reality which they have not seen unfolding.

Deutsche Bank’s Markus Müller says that nature-based solutions are a critical tool in creating a sustainable economic system

DS: Does it also make them complacent?

MM: This is a risk. It makes them complacent at the same time. There is a little bit of ambiguity. So, on the one side, I think it’s an important ingredient for social and economic development in the end because it makes us resilient in regards to changing environmental constitution and impacts on us.

But being not aware of this change makes us too complacent in the sense that we might run into a risk that something will further limit our development.

DS: Jean-Baptiste, can I ask you a variation of the same question? Last week, I watched a repeat of a TV show made in 2010, a murder mystery. The police detectives are standing outside the scene of the crime in the British countryside in summer.

And what struck me was that this frame was full of insects. And right now, 2024, just 14 years later, you wouldn’t see these insects. That’s a shifting baseline because a child born in 2010 would have no idea. That has to be a worry?

Jean-Baptiste Jouffray: Thanks, Darius. I think Markus knows how to trigger a debate because by pointing out how a shifting baseline is making us more resilient, he’s already triggered me. From an academic perspective, the shifting baseline syndrome is really well documented – it’s a whole theory, to explain change’s in the natural environment. And I wouldn’t have started by saying it makes us more resilient.

I would have argued that it makes the loss of resilience. One of the challenges of the shifting baseline is that, as you just pointed out with your example of the loss of biodiversity and insects in the British countryside, as generations come through, they are no longer accustomed to what things used to be.

Read more: Javad Marandi on investing and philanthropy 

A very typical example in the coastal environment is fisheries in Florida, where you have historical photos of the catches of competition that takes place every year, about who is able to catch the biggest fish. And it’s a striking legacy of photos because you go back 70 years ago and you see the size of the fish and the first prize is this gigantic fish.

And the fishermen holding the fish and smiling with it. And as the years go by, the first prize goes to smaller and smaller fish. And it is almost an iconic illustration of the shifting baseline. For the people who come into that competition for the first time, that’s their biggest fish and that’s what the ecosystem has. There is no memory of what it used to be.

MM: And this is what I meant! And this is exactly the point why are we in a more biological devastating situation yet are still acting. Because we do not know how it was, we just know it in memory. It’s a nice story. I’m doing now the same with the younger generations.

When I was young, I went into church in April, and it was still snowing. It’s now warm. But I worry because I recognize it. But the new generations who just hear this from me do not worry about the situation in general.

JBJ: And that’s why I would argue that it may lead to inaction.

MM: Exactly. And complacency. It is a slippery slope because it shrinks our possibilities. It limits the room, which is already limited through physics and physical limitations.

DS: Can I now ask with regard to the situation you both outlined, just relating that to the question of effective change on climate and the blue economy? The idea of shifting baselines means, that I think we agree, that people are less incentivized to act because they don’t see change because it happened before they remember. Yet the change has happened.

How important is that emotive aspect in creating meaningful action? Or in fact, is that an irrelevance? Because the economic system and the regulatory system, which are not shaped by emotion, but by capitalism, are set up in a way that cannot enable this change. So is it really something that we shouldn’t be worrying about?

Read more: The future of philanthropy: AVPN South Asia Summit, Mumbai

JBJ: I would argue that it matters a lot and that emotions matter a lot and that it has been one of the battles that ocean conservation has had to face, when it comes to places in the ocean so remote like the deep sea, for instance, which has had to fight that battle for public awareness and public emotions.

How can people relate to a place that is pitch dark, 6,000 meters below the water and that no one has ever seen except a handful of people? More people used to have walked on the moon than actually dived at the very bottom of the Mariana Trench. So that aspect of emotion has been something really important in the context of ocean conservation.

Jean-Baptiste Jouffray says that shifting baselines, where new generations do not have the same perception of what environmental “normality” is, are a real and present issue. Photograph by Pelle T Nilsson/SPA

MM: In terms of economics, put simply we don’t need more money in order to deal with the situation. We just need to make the money flowing in the sustainable and economically viable projects if we factor in all costs. But this is not what we are currently doing. Hence, I fear that we run into situations where suddenly something is not anymore possible. And then we change. So you see this with the energy situation in Europe.

DS: On that note, Markus and Jean-Baptiste, so it’s now nine years since the SDGs were adopted. It’s coming up to four years since the Dasgupta report (which outlined the need for a new economics of biodiversity, to create systemic change in the sustainable future). How would you rate progress?

MM: I think in general, the progress is there. But this progress in the biodiversity and the ocean world has also been piggybacked by the climate change discussion, which is more immediate to us as more and more have to admit that they feel it.

Something which was there, which we didn’t know that it was there, and which then disappears, we don’t miss. This is one problem. The other problem is that it’s so local that it’s maybe not relevant for us in other places.

Read more: YCAB’S Veronica Colondam on bringing hope and change to Indonesia’s youth through social entrepreneurship

My last point is that we do not have a systemic discussion. We still have a very separate discussion. And this leads to the following problem. For example around SDG 4, education. Someone said to me recently, why is the SDG 4 so under-invested?

And for me, it’s clear, because if you do not have a labour market in a country which is able to absorb highly skilled people. Why should you invest in education, from a return capital perspective? So we need to think about developing a system which enables us also to generate the returns we need for societal prosperity in the end. It is not just as simple that we say, we stop here and all will be good. We also need to find an answer to what will the people get out of it to feed their families, to pursue their daily life. And if I develop education without having a functioning labour market, I will have a brain drain in the best case. In the worst case, I will have no investments in education.

JBJ: I think Markus made some really interesting points. Starting with how can we care about something we didn’t know existed.

Well, that really brings us back to the shifting baseline syndrome. And it’s interesting because, in a sense, that is one of the issues, right? So I’m glad we finally came to terms with that.

MM: But again, this is a risk. But it’s interesting that we are still able to survive in situations where something is not anymore there, which has been there before, right?

JBJ: Absolutely. No, no. And I’m half teasing you, half being serious here. But one of the embodiments of the shifting baseline syndrome is precisely that lack of caring, which might hinder progress. That’s one aspect.

To answer your question, Darius, yes, there is progress. But what we’re seeing, first and foremost, is progress in the vision rather than the impact. So in other words, we are living in an era of ambitious collective vision, but limited collective impact.

Oceans are at systemic risk from climate change. Photograph by Isabella Fergusson

I think the vision is one thing, and it’s great. That’s where we’ve seen countries coming together. That’s where we’ve seen multiple stakeholders coming together. That’s why there’s an increasing number of multi-stakeholder collaboration and voluntary commitments.

All those are articulating progress in the vision of what one should do. But the impacts do not follow. And I think if we look at metrics, we’re nowhere close to where we should be given the urgency of the situation.

The financial sector is not doing, what it should do. The private sector is not doing, what it should do. It doesn’t have the incentives to do so. And the governments and the regulators certainly are not levelling the playing field and doing what they should do.

We’re now within six years of the 2030 agenda and we are not on track to achieve any of the SDGs. The Kunming Montreal Global Biodiversity Framework may be superseding the SDGs and giving us an outlook for a post-2030 agenda with more ambitious targets.

MM: I would agree. The other thing I wanted to add is that, compared for example to AI, the discussion about ESG is not liked. Sustainability is not liked. It’s seen as a paternalistic activity driven by regulators and governments.

Who wants to tell us how we should live, how economies should act? A regulatory approach for more sustainable development should be supportive, an approach which enables the economy, corporates, individuals to find solutions for their challenges… instead of telling them what they should not do.

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

So these are two different sides of the same coin. To forbid something, but at the same time to enable something.

JBJ: I could argue that those two are not exclusive. And so I would tell Markus, maybe, you know, maybe regulators should enable while forbidding.

What I’m trying to get at here, and it’s something we have discussed in the context of the role of financiers in particular, is that I agree with Markus that there is a role for finance and financiers and financial institutions as enablers of sustainable futures and enablers of the blue economy.

The world’s oceans produce more than 2/3 of our oxygen and are essential for regulating our climate and biodiversity. Photograph by Isabella Fergusson

That brings us back to this dominant narrative in the blue economy of an ocean finance gap, right? Because, indeed, SDG 14 (about the oceans) is the least funded goal of all. So there is a gap in terms of ocean conservation.

There’s not enough investment going towards sustainable and equitable projects and into ocean conservation. In that sense, regulators, the public sector, the private sector and the financial institutions really have a role to play as enablers to unlock capital towards those projects.

DS: What needs to happen this year?

JBJ: Gosh, so many things. If I stick to the context of the ocean economy and the blue economy, one of the high-level processes that is ongoing is the ratification of the United Nations Agreement on Biodiversity beyond National Jurisdiction.

That’s often referred to as the High Seas Treaty or the BBNJ Treaty, which has been celebrated as a landmark of multilateralism. Countries have agreed on the treaty, which was a milestone, and now it needs 60 signatories to enter into force.

As of today, there are only four signatories. So if you ask me, by next year, which will also coincide with the 2025 UN Ocean Conference hosted by France and Costa Rica, then my hope would be that, this serves as a milestone for the treaty to enter into force. So what I’m hoping to see and what needs to happen is 56 countries between now and next summer to actually ratify the BBNJ Agreement.

DS: Thank you. And Markus?

MM: At COP 29 (in Baku in November) in a nutshell, collaboration, alignment and trust-building will be crucial ingredients to make progress on all of the aims. To deliver in the end a resilient and sustainable future. I think we have a lot on our plate and we need to work on it.

I think it’s a bad idea to put more on the list instead of working down the pile of things we already have on the list. I think this is a challenge of the COP that it’s not about adding on top all the time. It’s rather about getting the things done we already have on our list instead of putting new things on.

www.db.com

oceansolutions.stanford.edu

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The original apartment building has turned into a hotel with 79 suites, each with either a small bar, kitchenette, and separate living areas, most of them having a working fireplace

Candice Tucker checks in to the Petit Ermitage, for a bohemian European escape in the heart of West Hollywood

The Wow Factor

If you didn’t know about the Petit Ermitage, you would likely walk past this discreet hotel, in the heart of West Hollywood, without taking a second look. Once you walk in, it’s a completely different experience. The hotel exudes an enchanting blend of bohemian chic and European elegance.

Follow LUX on Instagram: @luxthemagazine

The rooftop, a dreamy oasis, is the crown jewel with its lush garden, cosy fireplaces and red and white striped double lounge chairs surrounding the pool area. Art lovers will be delighted by the curated collection that adorns the hotel, including works by Miro and de Kooning. The ambiance is intimate and full of character—a perfect escape from the ordinary.

The rooftop offers a heated saltwater pool, a cozy lounge area and fireplace

People Watching

The rooftop pool at Petit Ermitage is one of the best spots for people-watching in LA, especially because it’s the city’s only European-style pool. The crowd is stylish and eclectic, a mix of creatives and influencers.

Read more: The Savoy, London review

It’s a serene haven where you might find yourself lounging next to Hollywood’s elite, as the hotel is a known favourite among celebrities seeking privacy. The no-photos-or-videos policy by the pool ensures that everyone can relax without the intrusion of social media, making it a rare, paparazzi-free zone in Los Angeles.

Show Me to My Room

The rooms at Petit Ermitage are a delightful mix of vintage charm and modern comfort. The Belle Suite, where I was staying, had a floral pink wallpaper, complimented by plush green rugs. The light up vanity and fireplace create a sense of warmth that makes you feel right at home. The bathrooms are equally quirky, with vintage tiles and well-chosen amenities that add to the overall boutique experience.

The walls if the hotel are filled with art from the owner’s personal collection, including works by Miro, de Kooning, Rauschenberg, and Dalí

Come Dine with Me

The rooftop restaurant offers dishes that blend Mediterranean influences with fresh, local ingredients. The ambiance is enhanced by the garden surroundings, twinkling lights, and the soft hum of conversation.

One standout on the breakfast menu is the breakfast burrito—an absolute must-try. Packed with fluffy scrambled eggs, and fresh avocado, all wrapped in a perfectly grilled tortilla, it was the best way to start the day in LA.

Find out more: https://www.petitermitage.com/

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Since 1948 Land Rover has been manufacturing 4x4s across different models: Defender, Discovery, Discovery Sport, Range Rover, Range Rover Sport, Range Rover Velar and Range Rover Evoque

Range Rover was the original manufacturer of SUVs, Is it still among the best? We drive the slick new Velar, to find out

In the world where every car seems to be a large sport utility vehicle with four-wheel-drive, and enormous amounts of horizontal lateral and vertical space, it’s hard to believe that not that long ago there was really just one SUV you could buy.

The Range Rover was the preferred car for English countryside aristocrats, who used it to navigate the private lanes on their muddy estates. It had the height to avoid rural obstacles and the powerful V8 engine to get it out of mud holes. And quite a lot of comfort and style besides.

Velar, a Latin name that means “to veil”, “Velar” also could’ve been an acronym for “Vee-Eight Land Rover,” as the original prototypes all had eight-cylinder engines

That was then. But what about now? Presumably the tsunami of SUVs from every type of car manufacturer, from Lamborghini to Hyundai, means the original has been sidelined? What would a Range Rover’s USP be now?

Quite a lot, as it turns out, we discovered when driving the Velar.

Great cars always have a distinctive characteristic that is retained down the generations, regardless of evolution. The Mercedes-Benz S class has its own luxurious style distinctive and superior to all of its rivals. The Porsche 911 has a character and precision that it retains even though its current models are unrelated to the originals in the 1960s.

Follow LUX on Instagram: @luxthemagazine

Similarly, a driver of an original Range Rover from the 1970s would instantly recognise the current model – in a good way. Driving down a road – even a normal urban road – if you feel a sense of security, authority and comfort, as if driving your favourite armchair. The security also arises from the knowledge that this is a famously capable car off-road, even if you never venture down your own muddy farm track.

The Velar relies heavily on electronics and brake intervention for off-road control

Other powerful SUVs hurtle, the Range Rover Appears to waft, Jeeves like, even when it is going very fast.

The interior is British luxurious, that is to say not focused on design-function like some competitors, but all about comfort. While it is an extremely accommodating car for passengers, as a driver you felt like you had melded with it and simply never wanted to get out.

Read more: Rolls-Royce Presents Cullinan Series II In Ibiza

We doubt any Range Rover drivers will be taking their cars for a sports car style blast: they will have other cars for that. Still if you’re pressing on, it retains its composure and comfort, although if you are a super enthusiastic driver, you may well find more sharpness in some of its competitors.

Costumers can tailor their own Range Rover Velar: From different colours on the outside, wheel and roof options. The outside colours vary from Zadar Grey, Santorini Black to Fuji White and more

Some current SUVs work in certain markets, where flashy cars are applauded: however if you live somewhere where discretion is more the word, the Velar will probably suit you more. Although big, and imposing, it has an understated confidence to it that does not invite aggression from other drivers. A worthy successor to the original.

www.landrover.com/range-rover/range-rover-velar

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The Clement Palo Alto is ranked #14 on the All-Inclusive Resorts list in the USA

The Clement Palo Alto offers a distinctive experience that stands out in a region known more for its tech giants than its hospitality. Candice Tucker reviews this luxury all-inclusive hotel and shares why it is the place to stay in Silicon Valley.

The moment you walk into The Clement, there is an instant sense of homeliness. Just a small minimalist reception area which leads through to a lounge, restaurant and 24-hour open kitchen area, the hotel has a residential charm that completely puts you at ease. With light brown wooden finishes and cream leather sofas, the hotel strikes the perfect balance of luxury without pretentiousness—ideal for those using it as a sophisticated retreat while attending meetings or visiting Stanford University, just across the road.

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Stepping into the bedroom feels like entering your own private sanctuary. The expansive space is thoughtfully divided, offering a cozy lounge area and a dedicated workspace with a separate guest loo. The bedroom area provides a tranquil retreat, while the enormous white marbled bathroom—complete with a double-sized shower and bath added a touch of spa-like luxury.

The generous space makes it feel more like a well-appointed apartment than a hotel room, creating a restful environment that feels like a home away from home. To no surprise, being in Silicon Valley, the technology was completely up to date with one simple machine controlling every function possible in the room.

The hotel is located downtown Palo Alto near the Stanford University campus with 23 residential-inspired suites

Later in the afternoon, feeling a bit peckish, I called reception to inquire about room service. While they were happy to send something up, they suggested I explore the 24-hour open kitchen instead. Right by the main restaurant, this brown wooden kitchen with dark marble tabletops resembles one you’d find in a luxury Beverly Hills mansion.

Read more: Shogun, Zermatt’s finest Japanese restaurant, reviewed

Complete with a double fridge, cabinets filled with perfectly arranged jars of biscuits, yogurt and fruit bowls, fresh juices, and an array of light snacks, I was browsing through as if it were my very own dream kitchen at home. It was a refreshingly personal touch, allowing guests to help themselves at any time, fostering an atmosphere of comfort and familiarity.

All meals and beverages are inclusive in the price of your room, thus no exchange of money is necessary

The next day I dined at the hotel’s restaurant for lunch which offers a curated seasonal menu that showcases local ingredients. I was also given the option to dine whenever and wherever I chose, which was not only convenient but added to the level of personalisation that the hotel seems to so easily provide. The tomato soup was flavoursome and light and left the perfect amount of room for the Dijon roasted salmon which was soft in the middle with a crispy tangy outer layer.

Read more: Chez Vrony, Zermatt, Switzerland review

The Clement Palo Alto excels at offering a luxury experience that never feels overwhelming. The hotel’s small size, combined with its attention to detail and personalised service, creates an intimate atmosphere that’s perfect for both business travellers and those visiting Stanford University. Every aspect of the stay is designed to cater to your needs, making it a place you’ll want to return to time and time again.

www.theclementpaloalto.com

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Ash Thorp: A still from the short film Edifice, 2018

A still from the short film Edifice, 2018, by Ash Thorp, a digital artist based in San Diego, California. Thorp’s works are frequently complex interplays and redesigns of human anatomy. His works have featured in Batman, 2022, and The Amazing Spider-Man, 2014, while his interdisciplinary initiatives feature collaborations with brands such as Richard Mille

We might take perfect care of ourselves – exercising body and soul, eating carefully and mindfully – but our bodies might have other ideas. Now the latest technology means we can literally see inside ourselves for diagnostic purposes with astonishing accuracy. Dare we take a look? One LUX editor did…

When I first started collecting cars, I asked a wise and experienced collector friend where I should get them serviced.

The choice was between franchised official dealers of these prestigious car brands, with their glossy, shiny showrooms, which, however, might lack detailed knowledge about the older cars I was acquiring; or specialist service shops often located in remote and inaccessible places, which might have more knowledge and expertise on classic models.

“If you want a quick look round, a thumbs up and a certificate, go to the official dealers,” my friend said. “If you really want to know what’s wrong, and what might go wrong that you can prevent, go to the specialist.”

I am not, in any way, comparing myself to a classic car (or not in so many ways), but this was an analogy that came to mind when I decided to go through a health check recently.

Humans are even more complicated than classic cars (although it may not seem so at times, if you own one). And while there are many things that can go wrong with us, we might be tempted not to worry about them until they happen.

Unfortunately, when these hidden conditions finally manifest themselves, they can have sudden, catastrophic, tragic results. Think of the unspotted tumours that have metastasised, or the almost completely obstructed blood vessel in a marathon runner that goes unspotted until they drop down dead one day.

Until recently, the technologies simply did not exist to diagnose thoroughly and preventively with a large degree of accuracy. Scans would miss things and pick up worrying false positives. So I was interested to read about the latest CT and MRI imaging technology, which allows highly accurate scans of every key part of the body.

Consulting medical friends, I was told by this usually cynical crowd that, yes, these could be extremely helpful, but with two caveats. First, CT involves radiation, so you don’t want to get this done too often. And second, it’s all about the interpretation of the results: you need somebody looking at each scan who specialises in the relevant part of the body and has done it thousands of times before, so they can interpret through experience.

A certain shape on the spleen does not necessarily mean the same thing as a certain shape on the liver. Or something like that. Then there’s the convenience factor. Who has time to make, understand and fulfil the multiple appointments required in different practices at different times to cover the body from scalp to toenail? The wrong type of mole on either could kill you just as effectively as a blocked aorta.

And then there’s receiving and making sense of the results. Doctor friends profess it’s all too much for them, even though they know preventive healthcare could save their life.

Enter Echelon, a central London-based company offering a one-day service that covers every imaginable test in one location, plus interpretation by specialists and delivery of results by one single medical director.

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Like having someone from the factory that built your car tell you what’s wrong with it. Or nearly. I took the plunge and enlisted for Echelon’s Platinum Assessment.

It involves MRIs, CTs and ultrasounds covering every conceivable body part – including a noninvasive scan of the bowel, a relief as the other way (a rectally entered camera) is not pleasant.

The in Harley Street located clinic, houses a suite of advanced equipment and is staffed with a number of radiographers and radiologists

There would also be a suite of blood tests and physical examinations of moles and anything else that needed investigating, all by relevant specialists.

Read more: Marcus Eriksen on keeping our oceans healthy

After booking myself in over the phone, I had a chat on Teams with an efficient coordinator who took some details, sent me a form online and said she would welcome me at 8am on an agreed date at the clinic in Harley Street, central London.

There was some preparatory work to do the previous day (fasting and ingesting a bitter liquid), but otherwise the convenience factor was supreme. The most remarkable thing about that day is that it didn’t seem remarkable at all.

What would otherwise have been 10 or 12 different appointments – at different clinics, on different dates and times with different specialists, the usual travel to and from, the waiting times and different results delivered on varying dates – all happened seamlessly in the space of a few hours.

Each appointment followed the last with perfect timing, even when we travelled between Harley Street buildings and separate specialisms. There was no waiting, I was accompanied at all times by my hyper-efficient coordinator who knew everyone and had them all responding to her instructions.

Read more: Zahida Fizza Kabir on why philanthropy needs programmes to achieve systemic change

The only time I sat down with nothing to do was at the end, when I was given a recovery suite and my chosen lunch of sushi, before I headed back to the office.

A week later, I met Medical Director Dr Paul Jenkins to go through the results. Each had been interpreted by a consultant in that field, and then reinterpreted by him.

I was fine, but that’s not the point: any one test could have found a potential killer lurking in some part of my body that I would have no idea about: a cancer, a disease of an internal organ, calcification of the cardiac arteries, abnormalities of the lungs.

The clinic offers health assessments packages including full body mole screens, digital mammograms, blood tests, ECG, CTs, MRIs and ultrasounds of all colours and creeds

Dr Jenkins said such discoveries were quite common, and, in each case, discovering it earlier was far preferable to waiting until it manifested itself. So, for less than the price of a secondhand city car, which would you prefer: to bury your head in the sand until, potentially, it’s too late; or to know whether there’s a potential catastrophic engine failure inside your body that you can avoid and treat? Seems like a no-brainer.

The modern health assessment, by Dr Paul Jenkins

“We all accept the concept that prevention is better than cure for so many aspects of our lives, yet so many people ignore this in relation to their most valuable possession – their health.

I have seen the devastating consequences of this approach so often and the desperate attempts to repair the damage when it is sadly too late. Now, modern imaging technology (CT, MRI and ultrasound scans) allows us to see inside the body in incredible detail and to detect the very earliest stages of so many diseases that, if left, would progress to cause serious ill health or death.

Echelon Health Founder and Director Dr. Paul Jenkins ensures clients are equipped with a detailed health analysis and a plan for future healthcare

Undergoing a three-yearly, high-quality preventive health assessment should be a routine for everyone over the age of 50. It amounts to a modest monthly cost that, for many people, is a small price for the life assurance it brings, along with enormous peace of mind”.

Dr Paul Jenkins is a Consultant Physician and Medical Director at Echelon Health, London 

www.echelon.health

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Boutique hotel La Fiermontina Luxury Home is an homage to Antonia Fiermonte and the two artists who loved her. The garden shares its ancient city walls with Lecce

Lecce, the most celebrated city in Puglia, comes at you unexpectedly, like many of Italy’s gems. You drive past vineyards and olive groves, go through some unremarkable suburbs and then suddenly you are faced with a wall and gate of Roman origin. Once inside, the streets shrink and are cobbled; but what looks like a cluster of ancient buildings also houses more treasures within.

One of these is La Fiermontina Luxury Home, the city’s most celebrated hotel, set around a garden and olive grove within the ancient walls. The owners have just opened a new property, the Fiermonte Museum, 50 metres away down a quiet cobbled street.

All rooms and suites of La Fiermontina Luxury Home are inspired by traditional local buildings and are full of character, decorated with vintage and high-end antique pieces

Turn  right at the old lady who spends her days sewing, sitting on a chair on the cobbles, through a latticed iron gate, and you enter into a bijou courtyard, surrounded by lush trees – you could pick your own loquats certain times of the year.

Under a newly built staircase – the whole construction is new out of old sit two sculptures, and the art theme continues when you walk through the first floor terrace and slide the glass doors open, to be greeted by an array of sculptures and paintings.

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Our room had high, vaulted ceilings, showcase artworks and furnishings – the Fiermontina team are masters at creating contemporary art and design elegance out of historic landmarks.

The artworks around La Fiermontina Luxury Home are part of the carefully selected collection, and the architecture tells a story of the family’s ancestors and the country’s history

The Suite Nocturne of the Fiermonte Museum is covered in blue tones and music-themed

Ceilings and curtains were a deep blue, the window looking out onto a lush tropical treescape (all this within the old town). It was utterly peaceful, silent both at night and during the way, yet a couple of minutes stroll along the cobbles takes you into the heart of the old town.

Read more: Artists In Conversation: Michelangelo Pistoletto and Pascale Marthine Tayou with Maryam Eisler

The Fiermonte Museum consists of works from the Fiermonte family’s private collection, taking visitors on a kaleidoscopic journey through 20th-century art

This really is a Museum with rooms: you are given tickets, key card access and a lantern so you can access the museum in the same building at night. And then have breakfast in the courtyard, with an utterly bijou buffet served by your own staff – it feels like staying in a private home, more than a hotel.

We had dinner on our last night at the Zephyr restaurant.

www.lafiermontinacollection.com

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In our latest print issue we covered the preview week of the world’s most celebrated art biennale, which brought artists, collectors, institutional leaders, philanthropists, curators and the merely curious for a whirlwind of parties across the ancient city. All photographed by Darius Sanai using a vintage Nikon Coolpix ultra-compact

Esben Weile Kjaer and Lucca Hue-Williams

Maria Sukkar and Emin Mammadov

Maryam Eisler

Yana Peel

Hans Ulrich Obrist, Eun-Me Ahn and Patrizia Sandretto Re Rebaudengo

Darius Sanai and Ralph Rugoff

Yamini Mehta and Nada Raza

Durjoy Rahman and Vinita Agarwal

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Samantha Welsh, Jessica Hartley and Lee Sharrock

Carolina Conforti, François-Laurent Renet and Hamlet the dog

Shaan Shahani

Read more: Armando Testa at the Venice Biennale 2024

Nick Chu and Marton Nemes

Read more: Artists In Conversation: Michelangelo Pistoletto and Pascale Marthine Tayou with Maryam Eisler

Oli Epp and Javier Martinez

Stefanie Sauska and Julia Mechtler

Bernardo Pereira and Djoser Botelho Braz

Ana Helena Pires, Sandra Hegedus, Maguy Etlin and Vanessa Tubino

Marie-Laure de Clermont-Tonnerre and Laure Martin

Roman Schramm, Petroc Sesti, Emilie Pugh and Tracey Ryans

Glicéria Tupinambá

Nadja Romain

Masha Nosova, Fabienne Amez-Droz, Isabella Fergusson

 

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