Tom Dixon’s Fat chairs, Beat pendant lights and Tube table. Image by Peer Lindgreen.

Millie Walton speaks to four design leaders – Bentley’s Stefan Sielaff, Gaggenau’s Sven Baacke, Tom Dixon and Cristina Celestino – about innovation, sustainability and the evolution of their industries

TOM DIXON
British designer and founder of the Tom Dixon design studio

Tom Dixon

“After trying art college for six months, I broke a leg in a motorcycle accident and gave up education in favour of a career as a bass guitarist in a disco band. After another fortuitous motorcycle accident, I was unable to join the band on tour. I discovered welding and, driven by my enthusiasm for making functional forms in metal, I began a series of radical experiments in shape and material. There is a freedom in music that I transferred to design.

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“I rarely think of the final shape of an object or the surface before I start. I’m always thinking of the material possibilities, the potential of the factory and the structure of the object, which means that I’m a vertebrate designer rather than an invertebrate! I’m obsessed with how you make things and what they are made of. My style is reductionist and constructivist, meaning I try to make things as simple as possible.

“It’s hard to not be overwhelmed by outside influences. It’s important to develop your own design personality. I avoid looking at design and look at art, industry, cooking, science and nature.

“A designer has to work on the edge of their comfort zone, to use new processes or materials or shapes or new functions to create something new. They have to be in the present.”

tomdixon.net

The Back Home furniture collection designed by Cristina Celestino for Fendi Casa. Image by Omar Sartor

CRISTINA CELESTINO
Architect and designer, founder of Attico Design

Cristina Celestino

“When I design a product, a chair or a lamp, I start by thinking not only about the single item, but also about the whole mood, and where it could be settled within an interior. I pay a lot of attention to the proportions and scale. For me, there is not much difference between designing an interior or a piece of furniture; in the end they must both have strong personality and power. Details are always what matter most. Every last finish, all the colours and fabrics, must be perfect and work together. What’s important is the coherence of the story that you are telling.

Read more: Gaggenau is bringing global attention to regional artisans

“The way we approach design and, in particular, architecture should be definitely changed by the theme of sustainability. Nature should be protected and valued like an infrastructure that is always ready to help us when needed. In the furniture and interior design fields, I work with sustainability at different scales. It is not enough to use the ‘right’ or eco-friendly materials if they are not related to the design or to the success of a project.

“Sustainability should be part of all logistic and manufacturing processes, not just about the final product itself. This is why I pay careful attention to the materials I use, from their sourcing to the geographic location of suppliers and the manufacturing techniques.”

cristinacelestino.com

The 2020 redesign of the Bentley Bentayga. Courtesy of Bentley Motors.

STEFAN SIELAFF
Director of design at Bentley Motors

Stefan Sielaff

“Our customers expect a luxury product, manufactured with integrity. They want a unique, timeless piece of art that they will feel happy with for many years; an object that does not age from an aesthetic point of view so that it can be passed on to their daughters or sons. Bentleys are a fusion of the best. The sporting aspect of Bentley models is historically in our genetic code, but we don’t design, engineer and manufacture sports supercars in the common sense. The power in our Bentleys is not for showing off, it is discreet and sophisticated.

Read more: Looking back on 125 years of Swarovski and into a new era

“Very often the source of inspiration comes when we are in a team setting and sparks a whole series of design concepts, not only with me, but with the whole design team. This works like a chain reaction. If the idea is really good, there is a natural flow in the team.

“Car design will change dramatically in the next 10 years, as the car industry itself will also change. There will be new and completely different challenges from a technical as well as social acceptance point of view. The mind-set will change especially for luxury cars just as it will in the luxury industry as a whole. Sustainability is a key factor already within the Bentley brand, and it will continue to be crucial to the driver and passenger experience.”

bentleymotors.com

Gaggenau’s 200 Series combi-steam oven. Image by BJP Photography Ltd

SVEN BAACKE
Head of design at Gaggenau

Sven Baacke

“In my opinion, there is no such thing as timeless design because design is always in the context of people and the time in which it is bought and made. I call Gaggenau’s design approach traditional avant-garde. The brand has a heritage of over 300 years, but on the other hand, it has always been looking to the future and doing things that other people thought would never sell. Balancing these two things is in the DNA of Gaggenau, but what we have done in the past two years is to think about the traditional and the avant-garde in the extreme. One extreme could be that in the future there is no kitchen at all.

Read more: How Andermatt Swiss Alps is drawing a new generation of visitors

“We have been thinking about megacities where space is a luxury and about the future of housing more generally. What does it mean when luxury comes in a nutshell? What is compact luxury living? What will happen if the whole kitchen becomes even more invisible when not in use? What happens if people don’t go to work anymore, but work from home?

“The other major question is: can luxury be digital or is it always analogue? At the end of the day, I believe that the kitchen is still and always will be the heart of the home. We will still gather around a fireplace even if it’s a digital one in the future.”

gaggenau.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

Truffle hunting has been in severe decline since the early 20th century, but is once again on the rise as a craft and is currently highlighted by the Respected by Gaggenau campaign

The art of the handmade, and the appreciation of high-quality, low-volume makers, are having a resurgence. With the help of the German luxury appliance maker and their Respected by Gaggenau campaign, the future of crafts and the artisanal, whether in food, winemaking or the crafting of objects, is looking brighter, as Lisa Jayne Harris explains

“The nobility and humility of great craft transcends industries and products,” says Master of Wine, Sarah Abbott. “Artisans offer a sense of adventure, excitement and nuance that’s simply not available elsewhere.” The mystique that comes with creating a product by hand – whether that’s a time-honoured way to age wine and make cheese, or a modern take on knife making – touches us in a unique and deep way that mass-produced goods cannot: “People respond to the beauty, sweat, toil and integrity of craft,” Abbott explains. “We’re in a time of a craft renaissance. Our respect for authenticity and integrity in what we make and consume is growing.”

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The resurgence in craft’s popularity is at odds with our increasingly digitised everyday lives and fast-paced consumerism. But therein lies its draw, as handcrafted objects seem to reverberate with the energy of their maker when we hold them in our own hands, and they promise to last longer than impulse purchases, too. “We live in a throwaway world,” says author and food critic, Tom Parker Bowles. “So, it’s really refreshing when things are made to last. Technology has a built-in obsolescence to force us to buy a new phone or whatever, but we’re looking at a more sustainable future in all areas of our lives, including food sourcing.”

Both Parker Bowles and Abbott are judges of the Respected by Gaggenau initiative, which honours, supports and promotes small producers and artisans in the food industry. “We want to give something back to people who deserve it and need it most,” explains Gaggenau’s managing director, Dr Peter Goetz. Regional experts will nominate artisans who use skilled, traditional techniques to create exceptional and authentic products in food, wine and design.

Such authentic artisanal products are distinguished by their fundamental values of patience, passion and heritage. Both maker and customer have to be patient: “People who appreciate the finer things are usually happy to wait,” says professional truffle hunter and owner of The English Truffle Company, James Feaver. His business plan manages customers’ expectations and controls truffle pre-sales so they don’t take on more orders than are achievable. “Every day of hunting depends on the vagaries of the weather. If people get in touch in advance, we do our best to deliver, but we only harvest what’s sustainable and available at that time. I’m more like a fisherman than an artisan baker. I don’t make truffles like a baker makes his bread; nature has done all the hard work and I just find them.”

Gaggenau appliances can be adapted to any seasonal food preparation.

It’s the passion of people like James who make artisanal products stand out. “True artisans really believe in something,” says Gaggenau’s head of design, Sven Baacke. “They have a vision, they’re digressive, authentic and have a strong character. I see that throughout Gaggenau, too, not just in the design team but in the engineers and every department. We’re all striving for the best.” Abbott believes the character of an artisan winemaker is so palpable that she can taste the ‘maker’s mark’: “There’s a certain idiosyncrasy, a distinctive personality and edginess in the wine over different vintages. Great wines from large producers tend to be more polished, assured and even, but artisanal wineries exist on a knife edge, and you can often taste that in their wines.”

Read more: How Chelsea Barracks is celebrating contemporary British craft

The future is uncertain for many small producers. James has led a British truffle hunting resurgence, but the skill very nearly died out when the last professional truffle hunter, Alfred Collins, hung up his boots in 1930. “At one time there were 10 truffle hunters working out of Alfred Collins’s village,” explains James. “Truffle hunting was a sport for the gentry, like shooting or horse riding, but when Collins retired the custom and his knowledge disappeared too. I’ve been truffle hunting since 2008, and it’s only in the past dozen years that knowledge has come back to this country with our renewed interest in sustainability, British produce and farmers markets.” Crafts like truffle hunting are essentially a shared cultural memory, unique to each community they come from, and only by supporting these skills can we ensure they’re not forgotten. As the Arts and Craft designer William Morris said, “The past is not dead, it is living in us, and will be alive in the future which we are now helping to make.”

An image from the ‘Frozen in Time’ series by culinary artists Studio Appétit for Gaggenau

Climate change is perhaps the biggest threat to the future of artisan food businesses. “We’re already seeing lower rainfall and higher temperatures,” says James, “And that’s not good for truffles.” Sustainability and biodiversity are necessarily at the heart of artisanal work, because they’re more connected to their locality and environment. But this means climate change affects them even more acutely. “Artisanal wineries typically focus on a single small region or wine style,” Abbott points out. “They can’t spread their bets like larger producers, who mitigate risk across multiple regions and grape varieties.” If one variety fails, the small producer’s whole livelihood is at stake.

Managing director of Gaggenau, Dr Peter Goetz

Everything that makes craft special – the fact that it’s unique, handmade, small scale and highly skilled – is exactly what puts it under threat. The Heritage Crafts Association maintains a list of endangered and extinct handicrafts in the UK, including bell founding, scissor making, tinsmithing and cricket ball making, and they advocate for their preservation. But thankfully many craft producers have demonstrated their ongoing resilience through the Covid-19 pandemic by pivoting their business models or selling directly to customers. While that works on a local level, it still leaves them exposed in the longer term. “Many of these makers are third, fourth or fifth generation. Their domestic reputation is typically very strong, but it’s a challenge for them to reach diverse markets to weather our increasingly global economic storms,” Abbott says. “Small producers thrive through a more intuitive, organic relationship between maker and consumer but in a noisy, ever-expanding, luxury global market. Without resources for strategic marketing or PR, they struggle to be heard.”

Support programmes such as Respected by Gaggenau can go some way in giving artisans a voice and helping them keep doing what they do best. An appliance manufacturer championing small, independent producers might sound surprising, but the Respected by Gaggenau initiative reveals how much they have in common. “Of course, we are an industrial manufacturer,” says Baacke, “and some of our high-tech processes are best done by machines. But if the kitchen is the heart of the home then appliances are the soul. There is always a human touch to our work, like the hand-polished finish or detailed quality control. It’s the perfect balance between craft and industrialisation.”

The 2020 Respected by Gaggenau prize will bring global attention to three regional producers in food, viniculture and design. “Nominees are likely to be unsung heroes,” says Goetz. “Such as a farmer who produces a small amount of exceptional beef for just a handful of top chefs each year. We want to give that farmer recognition and promote their story to our discerning network.”

Ultimately, it’s up to us all to maintain the heritage of craftsmanship: “I’m an optimist,” says Tom Parker Bowles, “But we have to keep supporting artisan producers and value where our food comes from to secure a better future.”

Find out more: gaggenau.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

Aqua Shard donates a percentage of the retail price of every Peter Pan Afternoon Tea to Great Ormand Street Hospital

Earlier this month, Aqua Shard in partnership with the Great Ormond Street Hospital Children’s charity GOSH launched a Peter Pan themed Afternoon Tea, inspired by J.M Barrie’s infamous tale. Abigail Hodges experiences the creative menu

Whilst admiring the stunning views over the Thames from the panoramic windows of Aqua Shard, a boat appeared on our table in plumes of billowing smoke. This wondrous craft cradled a creative exhibition of savoury and sweet treats: finger sandwiches wrapped in paper denoting the ‘Lost Boy Rules’, an ‘Enormous Mushroom Chimney’, The ‘Codfish’ Captain Hook cod brandade croquette (named after Peter Pan’s nickname for his nemesis), a Tinker Bell shaped cookie sprinkled with gold fairy dust, a deliciously rich chocolate swirl (representing Peter Pan’s Secret Hollow Tree Entrance) and a chewy Tick-Tock the Crocodile dessert of raspberry and rooibos jelly. We sipped Veuve Clicquot champagne alongside vanilla and rose ‘Darling Tea’, and finished the occasion with warm scones, which came hidden within a special treasure chest, accompanied by sweet apricot marmalade (or ‘mammee-apples’) and a rich coconut clotted cream. A delightful afternoon indeed.

For more information visit: aquashard.co.uk

Gillian Wearing Lockdown exhibition view: Maureen Paley, London, 2020 © Gillian Wearing, courtesy Maureen Paley, London / Hove

Lockdown: a word that’s more familiar to most of us now than it was this time last year, and one that’s laden with personal and collective meaning. Taking the word as both title and subject, Gillian Wearing’s latest show at Maureen Paley, London is at once a deeply personal revelation of the artist’s creative response, and a wider, more complex meditation on self and the time in which we now live.

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The artworks – a series of new self-portraits, a wax sculpture (Mask, Masked), and a video work (Your Views, 2013 – present) – are displayed in two rooms between which visitors’ movements are choreographed by notices on the walls prescribing physical distancing.

Lockdown Portrait 3, 2020 by Gillian Wearing, framed watercolour on paper, 39.5 x 31.5 x 2.6 cm © Gillian Wearing, courtesy Maureen Paley, London / Hove

Lockdown Portrait 5, 2020 by Gillian Wearing, framed watercolour on paper, 39.5 x 31.5 x 2.6 cm © Gillian Wearing, courtesy Maureen Paley, London / Hove

Wearing’s self-portraits, made in watercolour, are a product of the prolonged, enforced isolation brought on by the Covid-19 pandemic. A departure from the photography and videography she is famous for, these small-scale paintings bespeak the self-reflection, both literally and figuratively, which Wearing’s lockdown precipitated. ‘Having represented myself in photography both as myself and as others,’ Wearing writes, ‘I wanted to see how paint and even the manner of painting could change my appearance.’

Untitled (lockdown portrait), 2020 by Gillian Wearing, oil on board 30.5 x 40.5 cm © Gillian Wearing, courtesy Maureen Paley, London / Hove

It might be a new medium but the paintings bear all the marks of the artist’s best-known work: the tensions between public and private, between our inner and outer selves. Think ‘Signs that say what you want them to say and not Signs that say what someone else wants you to say’ (1992-93): the police officer whose card reads ‘HELP’. Here, it is Wearing’s own quizzical eyes staring over the viewer’s shoulder, lost in thought, her hair tied up or loose, torso loosely sketched. How do we construct our identities, these pictures ask, how do we perform them?

Read more: British artist Hugo Wilson on creating art from chaos

Mask Masked, 2020 by Gillian Wearing, fabric mask, wax sculpture, steel rod and wooden plinth, 56 x 14 x 10 cm © Gillian Wearing, courtesy Maureen Paley, London / Hove

Mask, Masked underlines this question in fleshy three-dimensions. A severed hand reaches skyward, holding a life-like mask of Wearing’s face, eyes removed to reveal the wall behind. Over the mouth and nose is a second mask, reminiscent of the now ubiquitous face coverings worn in public spaces. An impossible masquerade ball attendee, the uncanny sculpture makes manifest the layers of concealment, of fiction, at play in person-to-person interactions, another layer added by the culture of the pandemic.

In a second room, Your Views, Wearing’s open-submission video work, brings together short clips of contributors’ ‘views’ from homes throughout the world, revealed when curtains or blinds are drawn back. Using footage taken during lockdown, including the ‘clap for carers’ celebrations, Your Views is a collage of lived experience. Rather than examine a face, this time the viewer tries on others’ masks, looks out onto the unfolding world. You might not see yourself in Wearing’s lockdown, her artistic response to its solitude, but the artist demonstrates your response has been creative too: your views are here, you are not alone.

‘Lockdown’ by Gillian Wearing runs until 25 October 2020. The exhibition is open by appointment. For more information visit: maureenpaley.com

Tom Cornelius

Mulberry Square townhouses at Chelsea Barracks

The exclusive Chelsea Barracks residential development in London aims to be the epitome of contemporary luxury living. It also draws on a wealth of traditional artisanal craft heritage, from specially designed and made oak furniture to bespoke light fittings, to forge a new historically significant landmark, as Mark C. O’Flaherty discovers

Some of the heftiest books lining the shelves of the world’s libraries are devoted to the history of London. The tale of Chelsea Barracks warrants a whole chapter of its own. It is an epic story, with handsome accents. Built as a home to Victorian infantry battalions, the original architecture stood for nearly 100 years. Since the 1960s, various plans for the site have been discussed but not materialised, but today Chelsea Barracks is a landmark again – a residential development that combines contemporary British craft with heritage inspiration. From the public artwork in the grounds to the finishings, light fittings and balustrades of the townhouses, Qatari Diar have brought together a nation of artisans.

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The ongoing story of British craft is told from numerous perspectives, and has culminated in more than just a landmark – there is also The Chelsea Barracks Collection. Under the direction of Albion Nord, the studio responsible for the overall look of the townhouse show-home interiors, an 11-piece capsule of designs has been commissioned from many of the artisans involved. Each object is handmade and represents the highest level of British craftsmanship, creating a dialogue with the Georgian squares of Belgravia. Wine glasses and tumblers echo the glassware produced in the 18th century, while the Belgravia Lamp references the Doric, Ionic and Corinthian columns of local buildings. “It is inspired by the orders of classical architecture,” explains Ottalie Stride, creative director at Albion Nord. “It has strong London connotations.”

The Chelsea Barracks Collection, designed by Albion Nord, includes the Elizabeth Side Table made by Rory Stride (above) of Stride & Co

You can see the broader strokes of the style in London-based designer Tord Boontje’s floral elements on the townhouse balconies – the wild roses, peonies and apple blossom of the British countryside, so often showcased at the nearby Chelsea Flower Show – all forged in metal by West Country Blacksmiths, based in a 17th-century workshop in Somerset. From the physicality of their creation, to the greenery of Belgravia, they connect numerous threads within the narrative of Chelsea Barracks. These aren’t things you can take home – they are home.

Boontje’s work to date has been almost exclusively for interiors, so to have his petals adorning a façade is significant. They also form a link with the landscaping outside. From one of Boontje’s balconies you have a radiant view over the perfect floral grids planted by award-winning landscape gardener Jo Thompson and landscape architect Neil Porter. This is one of the most arresting and modern green spaces in the city today.

Read more: How Andermatt Swiss Alps is drawing a new generation of visitors

The best kind of design is often site-specific, taking visual cues from and creating a dialogue with its setting. All of the artisans involved in the development studied the site, its environment and and history. Using designs by Albion Nord, the artisans at Marina Mill created for The Chelsea Barracks Collection silkscreened upholstery in a diamond pattern that references tiling inside the restored Garrison Chapel on the grounds. Other designs by Albion Nord took inspiration from the floor plan of the Royal Hospital Chelsea. As much as upholstery, Marina Mill have been weaving history, too.

Chelsea Barracks is a style and brand as well as a prestigious residential address. The Chelsea Barracks Collection incorporates many elements that link the development to history. A metal and leather pendant lantern is inspired by the flashlights used by soldiers in the first world war, while the Barracks Bench has been created in homage to the Egypt-mania that captured London society in the 18th and 19th centuries. A collection of ceramics, titled Radnor, play on the history of porcelain in the area. Silversmith Nicholas Sprimont was the founder of the Chelsea Porcelain Factory, which from the mid 1740s became the tableware maker for the royal family. “They were the first important porcelain pottery manufacturer in England, so it’s great to bring this material to life,” says Stride.

The Collection also includes Westminster glassware made by Stewart Hearn

Some of the furniture created with the homes, and The Chelsea Barracks Collection, in mind – including a bench, bedside table, side table and writing desk – come from the Stride & Co workshops in West 38are beautifully crafted objects from carpenters accustomed to making only 15 to 20 pieces in a year. Each desk is made from a single piece of oak for consistency of grain. Detail is everything, and so is the story behind each piece – the side table is inspired by the British fondness for tea-drinking, which took hold in the mid 18th century. Other pieces are battalion inspired. “The Wellington Desk made by Stride & Co is inspired by a traditional campaign desk,” explains Stride. “It would have been used by officers and their staff during a military campaign. Our design here aims to retain the portability and simplicity of the original, whilst including special details such as the lion-claw feet and the Chelsea Barracks rose mark, featured on the key to both the desk and the bedside tables.”

Tord Boontje’s specially commissioned metal floral decorations on the townhouse balconies

Like Boontje, bespoke light designer Sharon Marston looked to the history of the Chelsea Flower Show before starting work. Marston’s background flags up her instinctive approach to light and materials. Her career began in jewellery and costume design, working with Bella Freud, Paul Smith and the English National Opera. She creates objects that are luminescent, ethereal and elegant. The British flora is a constant inspiration. The two Willow chandeliers she created for Chelsea Barracks evoke the weeping willow tree found in the English countryside as well as landscapes by Turner and Constable. She was also keen to emphasise the inherent Britishness of the formal properties of her pieces. “Craftmanship is at the heart of my approach,” she explains. “The artisans I work with are small cottage industries dotted around the UK, ranging from glassblowers and ceramicists to metalwork engineers. My close relationship with each is what brings the intricate detail of my work to life. There are approximately 2,000 pieces of hand-crafted decorative components made from woven bronze mesh spread across both chandeliers, taking many weeks to create.”

Mulberry Square gardens, planted with fruits, herbs and flowers

Many of the works carried out for Chelsea Barracks pushed the boundaries for their creators. Reedway is an engineering company involved in the nuclear, space and marine industries. The ornate balustrades they created for the residences were inspired by the work of Arts and Crafts visionary William Morris and made using high-pressure water cutting on metal, usually employed in aviation, so making something very much 21st century. Reedway also worked on artist Conrad Shawcross’s tree-like sculpture at the development, Bicameral, constructed from anodised aluminium and installed permanently in the grounds.

What the designers and artisans behind the new Chelsea Barracks have done is take the romance of a classical Georgian home and refract it through the lens of today’s style but grounded it with Victorian muscle. The method in which that style has been crafted tells a story that has depth and longevity, one that will develop for generations to come.

Restoring the past

The Grade II listed Victorian iron railings during their restoration

The Victorian railings at Chelsea Barracks were given a pass when the government was requisitioning cast iron for the war effort in the 1940s. Grade II listed for more than ten years, the railings have now been restored to their original grandeur as part of the new development. The development team at Qatari Diar worked with the foundry Paterson Engineering in Scotland on what became a complex task. The original railings were moulded 150 years ago, and despite their apparent uniformity, there was no standard fitting. Each component had to be logged before removal for restoration. Back in their original place, they look magnificent. History has been refreshed and a link has been forged between the new architecture and the Victorian era that made these five hectares world famous. “They mark the border of Chelsea Barracks and pay homage to the history of the site,” explains Richard Oakes, Chief Sales and Marketing Officer Europe and Americas at Qatari Diar. “Together with the Garrison Chapel, the railings are now all that remain of the original 19th-century barracks, and their preservation and restoration has been a journey all of its own and one that we’re extremely proud of.”

Find out more: chelseabarracks.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

A look from Area’s AW16 collection, incorporating an official collaboration with Swarovski. © Swarovski Corporate Archive

Austrian crystal-maker Swarovski celebrates its 125th anniversary this year with a new creative director in charge. Operating in sectors from infrastructure to telescopes, it is most famous for its crystal figures and collaborations with the entertainment and fashion industries. Ahead of a landmark book being published about the company, Harriet Quick explores a family-owned firm getting ready for the next 125 years

For a brand bringing sparkle to the world’s performance stage and symbolising the dazzle of fashion to be celebrating its 125th anniversary is some achievement in itself, given the changes in the world of entertainment and style since 1895. To be doing so as a family-owned company, run in part by descendants of the original founder, is even more so. But for Swarovski, provider of crystals and sparkle around the world, there is yet another dazzling fact: the company has done so not based on the rue Faubourg Saint-Honoré or Milan’s Golden Triangle, but from a small village in the Austrian Alps.

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The journey has been epic. Today, the company is managed by the fifth generation of its family members. This year, marking its 125th anniversary, has witnessed big changes. On the visual front, Italian-born fashion director and consultant, Giovanna Battaglia Engelbert has joined the company as worldwide creative director. The stores, a feature of cities and airports around the world, are scheduled for a sweeping revamp.

The Crystal Dome at Swarovski Crystal Worlds in Wattens, Austria. © Swarovski Corporate Archive

The brand’s history is as varied as the topography of the Austrian Tyrol where Daniel Swarovski set up his manufacturing plant in the town of Wattens to benefit from the abundant water source that powered the hydroelectric cutting machines. The mountains and valleys of the region are symbolic of the struggles and triumphs of a business that has been driven by the continuous merging of technology, nature and innovative design. There is a generous sprinkling of magic, too. It is embedded in the multifaceted crystals that never fail to arouse awe and around which there has been ample myth-making.

Daniel Swarovski with his family, c. 1890. © Swarovski Corporate Archive

Before the global pandemic, Swarovski’s annual turnover was recorded at 2.7 billion euros and that comprises revenues from its high-end fine jewellery creations, the crystal stones deployed by a whole array of creative minds, including costume designers, chandelier makers and architects, and optics. The lion’s share (75 per cent of the revenue) is generated by fashion jewellery, sunglasses, watches, perfume and the much-adored crystal figurines. The quality of the crystals that are prototyped at Manufaktur, the striking in-house laboratory in Wattens designed by architectural firm Snøhetta, is unparalleled.

Read more: How Andermatt Swiss Alps is drawing a new generation of visitors

The company’s extraordinary creative output has also been bolstered by a roster of collaborators from the fields or architecture, design, fashion, film and stage who have continually brought ideas and seemingly impossible challenges to the company, from the mesmerising Aurora Borealis crystal that was developed by Manfred Swarovski for Christian Dior to the spectacular costumes made for performers including Maria Callas’s gowns, Liberace’s capes and Lady Gaga’s bespangled Ralph Lauren gown featuring 50,000 stones and worn at her Las Vegas residency in 2019. People come to Swarovski for the spectacular and the sublime, like scenic designer Derek McLane, who used 45 million Swarovski crystals for the 2018 Oscars ceremony, and who commented, “I always want to go beyond the clichés”.

Swarovski crystals in jewellery featuring in 16 Arlington’s AW20 collection. © Dan and Corina Lecca.

From the fields of design, Daniel Libeskind, Tord Boontje, Jaime Hayon and John Pawson are amongst the greats who have transformed crystal into products, architectural features and lighting. Hayon recently designed a full-scale carousel for the Swarovski Crystal Worlds culture park in Wattens. The monochrome attraction rotates in striking juxtaposition with the lush greenery of the garden and shimmers with 15 million Swarovski crystals across 12 ceiling panels and 16 wall panels illuminated by a warm light. “For me, a carousel can be seen as a moving museum,” explains Hayon.

Swarovski Crystal Worlds, with (top) Crystal Cloud by Andy Cao and Xavier Perrot, and (here) the carousel designed by Jaime Hayon © Swarovski Kristallwelten/Mark Cocksedge

Setting a precedent that would inspire future generations, Daniel Swarovski first made his inroads into the worlds of high fashion in Paris. Equipped with suitcases of stones, the founder would take his goods on the road, visiting couturiers including Charles Frederick Worth, Jeanne Lanvin and Jeanne Paquin, as well as the specialist artisan ateliers that supplied Chanel and Schiaparelli with exceptional embroideries, buttons and jewelled adornments. Relationships were forged that outlived the founder and expanded exponentially during the hey-day of couture in the 1950s, attracting Dior, Balmain and Givenchy. “The samples are often the springboard to the creation itself,” remarked Hubert de Givenchy.

Read more: British artist Hugo Wilson on creating art from chaos

The Swarovski Star by Daniel Libeskind in 2018 for the Rockefeller Center Christmas tree, New York. Image by HappyMonday

Swarovski crystal became a desired material in fashion, adding glamour and value to evening gowns, heels, handbags and costume jewels. It has been endlessly interpreted through the changing waves of minimalism, maximalism, sportswear, theatrical and romantic moods and proved itself a classic. At Versace, Donatella has made crystal chain mail a signature, Miuccia Prada has made sparkle an integral part of her chandelier earrings and party dresses, while at Chanel, crystal is woven into the tweeds and classic costume jewellery.

Mary Katrantzou’s SS20 show at the Temple of Poseidon in Greece.

The brand continues to look to the future by investing in new talent and ideas. Sponsorship through the Swarovski Collective programme and graduate award schemes means that emerging creatives are exposed to the potential of the material. Mary Katrantzou, Grace Wales Bonner, Rodarte and Jason Wu are amongst the many who have grown up through the collective. The most famous collaborator is Alexander McQueen, who conjured up brilliant designs fused with narrative richness and theatrical impact. Fittingly, Swarovski was the key sponsor of the record-breaking exhibition ‘Savage Beauty’ (2011) that celebrated his life’s work.

Lady Gaga during her ‘Jazz & Piano’ residency in Las Vegas, 2019. Kevin Mazur/Getty Images for Park MGM Las Vegas.

Derek McLane’s design for the Academy Awards stage in 2018, using millions of Swarovski crystals. Mark Ralston/AFP/Getty Images

The relationships are best when they are symbiotic. In 2019, Katrantzou designed her Temple of Poseidon couture collection that was staged as a charitable fundraising event in her native Athens with £40k worth of crystal. “Nadja Swarovski has changed the perception of how crystal is perceived, and I have challenged my own preconceptions of it. With something so visually present, it has to be part of the process from the beginning. We never want it to look like an afterthought,” says Katrantzou.

In turn, creative directors have been invited to Swarovski and been given carte blanche to design jewellery collections and components. The results have given crystal new dimensions. Consider Jean-Paul Gaultier’s Kaputt shiny/matte faceted stones, and the one million giant pearls and stones that embellished Olivier Rousteing’s first couture collection for Balmain in 2019. Challenging perceptions, groundbreaking Dutch couturier Iris van Herpen designed a ‘growing crystal’ that features raw and faceted surfaces.

‘Growing’ Swarovski into a new era is the mission for the family now. An era that is challenging for any consumer-facing business: but any company that has lived through two World Wars and a Great Depression has long-term survival in its genes. Sparkle is guaranteed, but who can say what poignant shapes it might find in the future?

For more information visit: swarovski.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

The penthouse apartment at Alma, one of two apartment houses to become available in Andermatt

The transformation of the village of Andermatt in the Swiss Alps into a place for permanent residence or seasonal getaways is taking more than just the rich amenities already there. It is the care and imagination with which the developers are creating the architectural environment that is drawing in investors, too, as Jenny Southan finds out

You want an escape, away from the crowds, to use year-round and as attractive in summer as it is in winter. It needs to be somewhere secure, clean, easily accessible, with excellent facilities; somewhere your family can indulge in outdoor sports on the doorstep, and then gather for a home-cooked meal, or zip out to the local high-class Asian restaurant in the evening. It should also feel like an attractive investment, in a desirable country in which property is hard for foreigners to acquire; and in a location where there is strong demand for holiday rentals, to provide income when you are not there.

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Welcome to the new apartments being developed in Andermatt in the mountains of central Switzerland. In a country where new-build apartments available for foreigners to buy are almost unheard of, the two new buildings, Frame and Alma, sit aside a central square in the brand-new development village of Andermatt Reuss. They are all part of the spectacular Andermatt Swiss Alps development, which has seen a previously sleepy and marginal ski village in a spectacular location transformed into one of the pearls of the Alps, via a $2bn investment by global place creator Samih Sawiris and his company Orascom.

Panoramic windows in Alma’s penthouse apartment

The development starts at The Chedi Andermatt hotel and restaurant complex, on the edge of the old village, through a rebuilt railway station and gondola lift station, to the hotel, retail and residential complex at Andermatt Reuss, which features the central Piazza Gottardo around which the new apartment buildings are located. Owners have access to the huge indoor swimming pool, spa complex and concert hall at the Radisson Blu Reussen hotel next door, and Piazza Gottardo has a big sports shop, restaurant, bar and other retail to come. The 18-hole golf course, one of the most beautifully located and eco-friendly courses in Europe, is nearby. Zurich airport is just over an hour away by car or train; and speaking of cars, all the parking in Andermatt Reuss is underground, meaning there is no traffic.

Read more: British artist Hugo Wilson on creating art from chaos

The five-floor Frame apartment house has been designed by Swiss architectural firm OOS with a younger generation in mind. It features 34 apartments (one-bedroom and duplex, some with double-height ceilings) that have been designed to feel airy, generous and bright, despite being compact in size at 50–60 sq m. Bay windows, for example, provide space for sofa beds.

There are also communal areas on the ground level that include bike storage, and a ski room and workshop where you can do repairs. There is a chill-out lounge, a sauna, a courtyard with a fire pit, and the Hearth, which is an entertaining space with a kitchen where you can have drinks or dine with friends. The developer Andermatt Swiss Alps (ASA) says: “You can cook food yourself, get one of the restaurants to deliver or have one of the chefs from the local hotels come in. It’s also a place where, if you are thinking of going out for a week’s hike, you can invite your guide in for a coffee and plot your course.”

Frame features a communal dining area with a kitchen

While the exterior of Frame is based on the look of the handsome rendered buildings already in existence in the village, another apartment building called Alma draws its inspiration from local traditional wooden architecture. The developer says: “Our ambition is that in 20 or 30 years’ time the new and old parts of the village will blend together so it will look like one destination. We always ask our architects to look at the wealth of architecture here but interpret it with a more modern eye because we don’t want it to be a pastiche.”

However, the developers don’t want to create an ‘architectural zoo’ – as the developer puts it, “Everything has to have harmony”. Tasked with designing Alma, which sports dark, over-lapping timber cladding, was Dominik Herzog from the Zurich architectural firm Herzog Architekten. Located on the western edge of Andermatt Reuss, Alma has 11 two- and three-bedroom apartments (measuring 122–169 sq m) that have living rooms with fireplaces, bathrooms with freestanding tubs and large picture windows looking out on to the mountains and the Reuss river. There is a sauna on the ground floor.

Frame’s exterior has been designed to blend in with the village’s existing buildings

The developer says: “The spaces are satisfying, nurturing and enriching. They are not shouty or flashy. They are thoughtfully detailed. Every single apartment has 180-degree views, sunken corner lounges that are heavily upholstered and sheltered balconies so you can go outside even when it’s snowing or windy.” Although Frame and Alma are different from one another, both are firmly rooted in a sense of place. “Their use of materials has been informed by the existing architecture and they have been very careful about how they open up their buildings to the surrounding landscape. The windows almost become the artwork on the walls,” says the developer.

ASA also wanted a car-free environment so much of the investment (millions of dollars in fact) has gone underground to make a double-storey basement of car parking, storage and services. The result is a healthy, liveable, pedestrian-friendly village. The developer explains: “Some people live here full time and others use their property as holiday homes. We have a lot of local clients from Italy, Switzerland and Germany who come for weekends over the season in summer and winter, but also investors from China and Singapore who come and use it before it goes back into the rental pool.”

Open Season

The winter season on Gemsstock runs from 31 October to 25 April, and the Andermatt-Sedrun-Disentis season runs from 19 December to 11 April. These dates are, as always, dependent upon the prevailing snow conditions.

For more information visit: andermatt-swissalps.ch

This article features in the Autumn 2020 Issue, hitting newsstands in October.

The Gainsborough Bath Spa occupies two Grade II Listed buildings in the heart of Bath

The Gainsborough Bath Spa is located in the heart of the historic city of Bath, but with access to natural thermal waters, extensive spa facilities and a calming atmosphere, it’s no ordinary city hotel. LUX checks in for a midweek stay

Staycations have soared in popularity this summer and it’s likely to be a lasting trend not only for pandemic reasons, but also for travellers seeking a more sustainable alternative to travel. For London residents especially, Bath is a no-brainer. One of the UK’s most beautiful and historic cities, it’s just over an hour by train from Paddington Station or an easy two and half hour drive, and if you’re staying at The Gainsborough Bath Spa you don’t even have to worry about parking. The valet is there to meet you at the bottom of the hotel’s steps and on check-out, the car’s ready and waiting, stocked with water bottles and a little tin of mints for the journey. It might not sound like much, but these are the kinds of thoughtful extras that contribute to a completely stress-free experience.

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The YTL group (to which The Gainsborough belongs) is known for its acute attention to detail. Added to the top-notch valet service, all the rooms, regardless of category, have complimentary mini-bars stocked with artisanal snacks and juices, and the bathrooms are filled with an abundance of good-sized Aromatherapy Associates toiletries and fitted with underfloor heating.

One of The Gainsborough’s courtyard rooms

The rooms are smart, modern and spacious, decorated in a soothing colour palette of duck-egg blue and gold with varying layouts. We stayed in a two bedroom suite, which takes the form of a maisonette with a double room and bathroom upstairs, and an additional double (or twin) room downstairs with a small sitting room. Both beds were exceptionally soft with piles of pillows, but the downstairs room was somewhat lacking in natural light whilst the rest of the suite benefited from towering ceilings and huge windows.

Read more: Diango Hernández’s disruptive Instagram art project

Aromatherapy bar (above) and one of the thermal pools in the hotel’s spa village

The Gainsborough features the only hotel spa with access to the city’s natural thermal waters. Currently, visitors are required to pre-book one-hour bathing sessions to prevent overcrowding, but that still leaves plenty of time to dip into the different pools, sauna and steam rooms with breaks in-between for shots of thick, spiced hot chocolate (a favourite of the Romans). In terms of treatments, there’s usually a wide selection including various acqua therapies, but due to current Covid restrictions, the signature massage is the only offering, beginning with a foot bath in neroli water infused with rosemary and pine essences followed by a full body massage using calming lavender oils. Spa experiences begin with a mini workshop making scented salts using a selection of Aromatherapy oils, and end with a cup of pink Hibiscus tea on the terrace overlooking the baths.

Read more: Holly Chandler of boutique travel company Fish&Pips on travelling post lockdown

Dan Moon’s restaurant is currently only open for breakfast

Dan Moon’s restaurant, which usually serves elegant dishes made from seasonal and locally sourced ingredients, is only open for breakfast at the moment. In the afternoon, tea is served a chic mirrored lounge known as The Canvas Room and the bar is open in the evenings for cocktails.

It’s a hotel that prioritises its guests’ relaxation and privacy. Staff are warm and attentive, but generally leave you to wander freely, creating a pleasing sense of homeliness. It’s the kind of place you can imagine returning to year after year.

Rates start from £325 per night for a Deluxe Room including breakfast (approx. $400/ €350). Book your mid-week getaway: thegainsboroughbathspa.co.uk

Please note: This review was carried out before the global lockdown. Valet parking is currently not available to guests. 

Untitled drawing by Hugo Wilson made with charcoal, black chalk, sandpaper and a sanding machine, paper mounted on aluminium. Photograph by Maryam Eisler

London-based artist Hugo Wilson works with drawing, painting and sculpture, combining images and techniques from Old Masters with contemporary references to create dynamic, layered artworks. LUX contributing editor Maryam Eisler visits his studio to photograph him and discuss refining his practice, creativity in lockdown and finding artistic freedom

Maryam Eisler

Maryam Eisler: Let’s talk about your surfaces.
Hugo Wilson: I think a lot of my work has been very clean in the sense that the surface is quite finished, and quite considered. Whilst I wasn’t particularly aiming for that, that is just how I work. People have said to me over the last few years, ‘You should be leaving thin bits… you should have thick bits…’ and that is fine, but there needs to be a good reason for it all. Just creating surface texture to please makes no sense to me. I am quite bloody minded. I am certainly not going to do something unless I think it is the right thing to do. But slowly, after five or six years, rubbing away has become a part of my practice. Re-painting has also become a part of it. In the case of these particular drawings, I have also pulled things out of seven or eight dark layers which are muddied or clashed to the point of a problem. Suddenly, a sanding machine seemed like the only option. What I realised is that textures were beginning to appear, but they appeared out of clean, conceptual ideas. That required intuition, that required pulling something out of a chaotic situation.

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Maryam Eisler: There is also great physicality and dynamism involved in your process. Would you agree that the paintings possibly represent a stamping of your own collective energy?
Hugo Wilson: Not consciously, but I think that any great work of art that I love has an honesty of intention, and an honesty of process to reach that intention. In the case of these works, I have, maybe, in a way, understood that my intention is less fixed than I had previously wanted it to be. In the past, I had a plan which I delivered, one way or another, but in this case what I’ve realised is that having a plan is almost pointless. So, creating works that are borne out of an obstacle course make perfect sense. These works also refer to many things, without ever holding a single position. Obviously, collective consciousness then has to come into play.

Hugo Wilson (top), and one of the artist’s works in progress (below). Photographs by Maryam Eisler

Maryam Eisler: To me, it seems like you are referencing freedom?
Hugo Wilson: I feel freer today than I ever have felt. That is for sure. I think moving towards more confidence is what I’m doing do. I also think that a heart punch is far more powerful than a head punch.

Maryam Eisler: Less agonising over process?
Hugo Wilson: I think all artists have this immense problem when they walk into an empty room with an empty canvas or a piece of clay or a block of wood. So, we sort of have to have a strategy in order to start, but also, we need to remember to break the rules that we have imposed on ourselves and to trust in that process. It is hard because it requires dropping things that have worked whether that is making a successful work of art, or selling it, or being liked by curators. Just because you are an artist you are not immune from all that; I wish I was. This last year was really hard because I had success for the first time in my career, and then decided to suddenly throw a hand grenade into my own practice, but it got to the point that I couldn’t live with myself if I didn’t do it.

Read more: Diango Hernández’s disruptive Instagram art project

Maryam Eisler: Speaking of bombs, how has this COVID period affected your work?
Hugo Wilson: The last six months have been the best period of work that I have ever had, for two or three reasons. One, the imagined pressure of the art world sort of disappeared for a bit, which I liked. I also realised that I’m terribly untrendy. I think that what is going on in the art world may be a great thing, but the fact that I am not involved in it, is not something that I am bitter about. In a way, I have had to look at that and question ‘well, what does that mean?’ In my case it meant freedom, the freedom to truly know what you care about and want from this. And I think that the answer is to create something, that goes well beyond my own limits, consistently. It can be exhausting though.

A collection of Wilson’s charcoal works and sculptures. Photograph by Maryam Eisler

Maryam Eisler: Would you say it’s also about personal evolution and revolution?
Hugo Wilson: I think last year was particularly difficult because I had given myself a year to change my practice. I thought, okay I shall only do one show, which was the Berlin show I did earlier this year, which actually ended up feeling and going much better than I thought it would. I also had to have my right lung removed. I have been sober for many years since my mid 20s, for a good reason! And suddenly I was on morphine… It was tough, much tougher than I thought it was going to be, because I am one of those lucky people who nearly crashed and burned young, but didn’t. Most of my adult life, however, I have felt pretty happy, no more or less unstable than most other people. And then suddenly, I was right back in the darkness again, mentally. It was very frightening. At the same time, I was sitting in an empty studio. You know, I sound posh. I sound like I have had advantages that actually I didn’t. I was on big scholarships and so on, but actually, I set myself against the world quite early on. I have always been very intolerant of the “hippy artist” and the idea of self-indulgence. As an artist, it’s natural that you experience bleak periods where you don’t like your own work, but you are going to have to keep going into the studio to make it happen. I had one of those periods, quite a long one, and I can tell you, it is hell.

An untitled glazed ceramic sculpture. Photograph by Maryam Eisler.

Maryam Eisler: Now you have come out of that darkness with these wonders, and you’ve almost cut out all the noise …
Hugo Wilson: I am using a 300-gram paper on aluminium. This stuff can take a real beating. I am also using sanding machines and spikes, maybe even fire one day.

Maryam Eisler: And yet, you are classically trained.
Hugo Wilson: I am very classically trained, within an inch of my life!

Read more: Loquet’s Sheherazade Goldsmith on sustainable jewellery design

Maryam Eisler: Can you tell me about your early days in Florence?
Hugo Wilson: I remember going on a school trip to Venice when I was fourteen. I was sitting in front of a Tintoretto and I nearly cried. Now, I understand that I was completely moved by the power of the image, but not one part of me thought I was going to become Catholic. I think, in a way, that the sort of silly, ambitious, quite stupid, young man just thought, ‘I am just going to fucking learn how to do that. He did it, why not me!’ The classical training was, by the way, extraordinary. It was a seventeenth century atelier. There was the master, and everyone who had been there longer than they could teach you, and it was amazing; we drew from plaster casts for a year, before we could draw a naked person, and only two years later, could we actually paint. I do not regret the training at all, but it was a very difficult thing to unpick. It was very addictive. The point is: I was interested in that language, and I learnt it.

Hugo Wilson in his studio with charcoal works in progress (above) and an untitled bronze sculpture. Photographs by Maryam Eisler

Maryam Eisler: So, that old world story is in your DNA?
Hugo Wilson: I am an English man. The works I have seen throughout my life are from this tradition. Slowly, slowly I am getting far more interested in other traditions actually, like Japanese woodblocks for example. I have also always loved those medieval bronzes and the historical anomalies where you look at a bronze from the fourth century and then you look at a Japanese incense holder, and you realise that they are identical, and that idea is at the very core of my practice. That we don’t change. It doesn’t matter what colour you are, or what time in history you are from, we will create idols which speak to us viscerally. I am not really doing anything different. The advantage I have is the internet, two thousand years of art history available at my finger tips and the ability to compare and contrast, and initiate dialogues. Also, 200 years of psychology and human psychoanalysis, and the realisation that actually the human need to create is far more important to understand than what is actually being done.

Maryam Eisler: What inspires you today?
Hugo Wilson: I am far more interested in process than I have been for years. I’m also looking at artists like Auerbach and Kossoff. Lovely Bacon… sexy Francis! Physical Freud…I have equally realised that these intuitive works take a really long time to create. I know that sounds odd, but, in my case, it’s been twenty years of me in the making, from being classically trained to using a sanding machine!

Maryam Eisler: Why so long?
Hugo Wilson: The process is the reason why it took so long. I think I rather stupidly assumed and felt that these were big physical gestures done in a week, but no. I suppose growing older makes you relaxed. But did I trust the process even last year? No. And it was my wonderful panel maker, that called me and he said, ‘Hugo you have ordered ten panels last week, and I came into your studio and every single one of them has been painted on and then painted over. Are you okay?’ To which I said ‘I am not, actually!’  All of that feeds into what is happening now and the weird joy that I am experiencing. I am not often this joyful, trust me!

Artworks by Hugo Wilson. Photograph by Maryam Eisler.

Maryam Eisler: You seem able to seamlessly move across mediums. Your sculpture works in particular appear to be an extension of your paint brush, with a few ‘sculptural’ interventions.
Hugo Wilson: Yes, that is what I want. I think that, with these new sculptures particularly, I can be “brave” in a way that I would find trite if they were to be paintings. In a way, given that I have not had a formal training in sculpture, I feel I can be braver with it. I am taking an object and in a way re-contextualising it. Just like a scholar rock, but even a scholar rock is a ready-made. I think it talks about what I am interested in, which is the human need to make systemic ideology. Three thousand years of non-monotheistic history has been placed on these rocks. But, it’s a fucking rock! It is bonkers. These things are going in Christie’s for millions!

Even though I had classical training, I then did a very conceptual master’s degree at City & Guilds [of London Art School] and I had a brilliant tutor called Reece Jones. He was an absolutely wonderful man and a good artist. He was also an angry young man; he would punch me for saying that. Most importantly, he made me ask these questions before starting any artwork: Should this be an artwork? Should it be an artwork made by me? And if it should be an artwork made by me, what is the delivery? And in the case of these bronzes, they are far better than anything I could ever draw. I also like the surface which you really notice. I don’t want to talk about the history of sculpture at all. Hence, my choice of sand casted bronze with its non-finish look, like stone or wood. It is a finish which doesn’t hold any historical position, and that suits me.

Find out more: hugowilson.com
Follow Hugo Wilson on Instagram: @hugowilsonstudio