Monte Rosa, the second highest mountain in the Alps at 4,634m (left), towers over Zermatt’s Gorner Glacier. Lyskamm (right) is another of the 33 peaks higher than 4,000m surrounding Zermatt. Photograph taken from the Gornergrat observatory station by Isabella Sheherazade Sanai

Zermatt, in Switzerland, has mountain views and activities that are the stuff of legend. It also has the highest altitude luxury hotel in Europe. Darius Sanai checks in and is mesmerised

We arrived for our stay in Riffelalp Resort 2222m by taking four trains from Zurich, each one more quaint and tiny than the previous. The first was a double-deck express that arrowed smoothly through luscious lowlands and past lakes; alighting at the bottom of a deep valley at Visp, we changed to a more pared-back, basic train that made its way up a narrow, steeply inclined V-shaped valley, more gorge than valley in places. Shards of rock sat on the valley floor among trees and cows, a fast-flowing river accompanied us upwards. There were glimpses, as we ascended, of glaciers and snowy peaks, even in mid-summer.

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Arriving at the top of the valley in Zermatt, we crossed a tiny station square, gazing up at the citadel of the Matterhorn looming over the village like a rock god. The next train was a cog railway, which headed in a meandering zigzag through the larch forest up the valley sides; we crossed over a high iron bridge above a waterfall, in and out of deep larch groves, the ground disappearing below us.

The Riffelalp Resort 2222m sits high above Zermatt in the valley below, with views of the surrounding peaks, including the Matterhorn

After 15 minutes, and feeling a lightness in the air, we emerged at Riffelalp station, right on the tree line. On the other side of the open-air ticket barrier was a tiny, open, narrow-gauge train, and a smiling drive/porter in full uniform, with a peaked cap. This little train, more toy than real, with no windows and waist-height doors, had room for around 20 people and a little luggage. It ground along a mountain path through the forest, at little more than jogging pace, for five minutes, as we were enmeshed in the aromas of pine cones and herbs, until it reached a clearing. Here, 600m above the valley floor, at a height of 2,222m (thus the name) we were greeted with a cluster of pretty Alpine chalets and a view, across and above the confluence of three glacial valleys, over to the Matterhorn, and several other peaks, lit only by moonlight and starlight, glaciers staring at us from across the dark night-time green haze.

Bedrooms at Riffelalp benefit from sweeping views over the mountain peaks

If the view was mind-bending, stepping inside the hotel was even more so. For this was no high-altitude mountain hut; we were inside a luxury palace hotel, beautifully created with Alpine woods and finishes, with a long and wide corridor leading down from the lobby area, past a jazz bar with a live band, and towards a restaurant, whose large windows perfectly framed the night-time Matterhorn. All the details were done beautifully, from the lighting, to the granite, wood and artisanal tables in the gently curving lobby/corridor area, whose large windows perfectly framed the mountains: at night, you could spot the helmet lights of the climbers on the Matterhorn.

One of the resort’s bedrooms (above), and (here) views of the Matterhorn from the terrace

We stayed in the Matterhorn suite, an L-shaped series of rooms, decorated in blonde woods with contemporary furnishings, each of which had a balcony looking out over the high-altitude drama of a dozen peaks of more than 4,000m. This is the highest luxury hotel in Europe, and from the bedroom balcony, it certainly felt it. The granite and marble master bathroom was a masterpiece of design and sheer size – in contrast to many Alpine mountain hotels’ compact dimensions.

Read more: Back to school with Van Cleef & Arpels

What was particularly compelling about the resort is that it is just that: a place you don’t need to leave. On the roof of one of the buildings is an indoor and outdoor pool and sun terrace – it gets surprisingly warm on a summer afternoon, notwithstanding the altitude. Inside is a spa. There is a bowling alley, table tennis, billiards, trampolines in a play area outside, and perhaps our favourite part was the garden terrace downstairs.

The indoor swimming pool at the hotel’s spa

The buildings are located just where the trees start to peter out, giving way to high-altitude grass and tundra, meaning you can sit at a table outside the hotel, watching hikers and climbers go past during the day while sipping a glass of wine – and you have the mountain to yourself at night. Kicking back with a drink after a long hike, as the sunset turns ever more blue, watching the other tourists disappear down the valley to Zermatt, or the serious climbers striding on and upwards towards their bivouacs, is an infinitely relaxing feeling.

The Alexandre restaurant serves fresh, light Alpine cuisine

There are three restaurants and a bar (the two main restaurants are open in summer). The Alexandre is the one in the main hotel building and any fears that it will be an old-fashioned Swiss grand restaurant serving heavy cream and food are quickly dispelled. The Swiss Alpine salmon fillet with wild spinach and venere rice was light and umami; meanwhile the Simmental beef with mountain vegetables and potato purée really tasted of Alpine meadows.

We had slightly feared that staying at Riffelalp would mean feeling cut off from the village below, a 20-minute train ride down in the valley. In fact, it was quite the opposite: we felt like we were the privileged ones, in a kind of contemporary, tasteful luxury Nirvana high up in the view, and we never felt like going down. Indeed, we never felt like leaving at all.

Book your stay: riffelalp.com

Larch and pine forests coat the steep slopes immediately above Zermatt. Image by Isabella Sheherazade Sanai

Four unmissable summer activities in Zermatt

Hike the Mark Twain Trail. Named after the American writer, it loops upwards and around the mountain from Riffelalp, revealing more and more vast, glaciated peaks at every turn, past high-altitude lakes and meadows, until you reach Gornergrat, the station and observatory at 3,100m with probably the most spectacular 360-degree view in the Alps. The trail is not particularly steep and can be done in three hours, but it’s not for those who have a fear of heights. There are hundreds of other mountain paths, over mountain top and through forest, valley and meadow.

Take advantage of the mountain gastronomy. Zermatt’s mountain huts may look quaint and weathered, but many of them house restaurants of Michelin-star standard, or rustic cuisine of the highest quality, with fine wines from around the world to match. And you need to walk or trail bike to get to them, making them justified. Some of our current favourites are: the Findlerhof, on a forest trail with a mesmerising view of the Matterhorn, where we had fantastic forest cuisine: a local mushroom salad and herbed chocolate fondant, cooked and served by the delightful owner; Restaurant Zum See, in a tiny
hamlet in a lush glade just above Zermatt, where the platter of local air-dried beef and cheese was sublime and the owners charming; Edelweiss, a characterful hut on a cliff directly above the village, accessed only by a short but very steep walk, which felt cosy and atmospheric; and the Whymper Stübe, in the oldest hotel in the village, where Edward Whymper, the English tragic hero who first climbed the Matterhorn in 1865, stayed, and where the fondues are superb and the atmosphere even better.

A panoramic path down from Zermatt’s Stellisee lake with the peaks of Dent Blanche, Obergabelhorn and Zinalrothorn in the background. Photograph by Isabella Sheherazade Sanai

Visit the Forest Fun Park. A high-wire park in a forest on the edge of the village, run by mountaineers, its trails, of varying difficulties, are ingeniously devised and variously involve zip-wiring over the river, down above rapids, and across a football pitch, and clambering from treetop to treetop, all in safety and with a stunning view of the Matterhorn.

Climb the Matterhorn. If you’re fit and fearless, plan ahead and book your guide and accommodation, Europe’s most famous mountain can be climbed by capable non-experts. But take heed of advice and guidance: after a gradual decline in accidents in recent years, in 2018 there were at least 10 deaths on the mountain. If you’re not quite up to climbing, a spectacular second best is a hike up to the Hornli Hut, known as Base Camp Matterhorn, on the leg of the mountain, which anyone can do if they are fit and don’t suffer from fear of heights. It’s two hours up from the Schwarzsee lift station, and pretty dramatic in itself.

Wildflowers grow in the unique microclimate of Riffelsee, at 2,800m one of the Alps’ highest lakes, protected by ridges from northerly winds. Photograph by Isabella Sheherazade Sanai

Other places to stay

Up in the mountains above the village, there is nowhere that comes close to Riffelalp Resort 2222m. When staying in Zermatt itself, we like to stay in Winkelmatten, a hamlet on its southern edge, at Chalet Banja. Available for private hire, Banja is beautifully built and detailed by a local doctor and his artistic wife, with four floors of exquisite local stone, wood, artefacts and detailing. It sits above a riverbank amid conifer trees, with uninterrupted views up to the Matterhorn; on the lowest floor is Zermatt’s biggest private (indoor) pool, with the same views, and a gym and sauna and steam rooms. The Alpine library in the atmospheric kitchen/living/dining area is engrossing.

This article was originally published in the Spring 2020 Issue.

Residents of Clivedale London’s latest luxury development can enjoy branded services and amenities provided by the Dorchester Collection

Mayfair-based developers Clivedale London recently unveiled the interiors for a townhouse at Mayfair Park Residences, an exclusive residential development managed by the Dorchester Collection. Chloe Frost-Smith takes a look inside

Mayfair Park Residences is a collection of 24 private apartments, all fully-serviced with five-star amenities by the adjoining Dorchester Collection hotel, 45 Park Lane. Ranging from spacious pieds-à-terre to an eight-bedroom penthouse complete with rooftop pool, the generously proportioned apartments are spread over eight floors with sweeping views over Hyde Park.

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Incorporating the character of a Grade II listed townhouse, Lee Polisano of London-based PLP Architecture has created a contemporary yet complementary counterpart to the refurbished historic Georgian façades, one in black-painted brick, the other in Portland stone and white travertine. Fronting two streets and presenting six distinct exteriors, Mayfair Park Residences blends into the surrounding eclectic architectural styles.

The spacious dining room of a townhouse at Mayfair Park Residences, and (above) one of the bedrooms

The classic Georgian period details are continued in the interiors, which draw on historical references combined with bespoke features by Parisian design studio Jouin Manku. With a number of previous Dorchester Collection hotel projects in their portfolio, Jouin Manku has taken a fresh approach to the group’s first residential development, focusing on an organic, natural colour palette and luxurious materials. Soft, muted tones are paired with elegant marble work, floor-to-ceiling windows, and wood-panelled spiral staircases.

Read more: Film director Armando Iannucci on David Copperfield & Fleabag

Interiors by Parisian design studio Jouin Manku blend historical references with contemporary details

Residents will enjoy access to an impressive selection of services available on an à la carte basis, including 24-hour room service, concierge, security, and valet parking. In addition to 45 Park Lane and The Dorchester amenities, residents can also make full use of the heated swimming pool, sauna and steam rooms, and hydrotherapy pool.

Find out more: mayfairparkresidences.com

Dev Patel as David Copperfield in The Personal History of David Copperfield directed by Armando Iannucci

Armando Iannucci is Hollywood’s most withering satirist. Here, the director of The Personal History of David Copperfield talks to Katie Mennis about British and American humour, Fleabag and The Death of Stalin

Armando Iannucci

LUX: Are you the hero of your own life, or is that station held by someone else?
Armando Iannucci: Dickens is one of the heroes of my life: he’s very funny and modern, and he wasn’t frightened of talking about the state of the nation. That’s my inspiration.

LUX: Was making David Copperfield a form of escapism for you?
Armando Iannucci: No, it felt very relevant, because the debate about what we are as a nation has become very negative. It’s all about what we’re not and what we don’t want. More of us should celebrate our variety and creativity. Our TV and film industry is the best in the world! We don’t talk up the things we like about Britain; if you do, you’re seen as nationalist and fascist. It’s like how we responded to the opening ceremony of the Olympics – that’s what Britain is. It’s not just cold bread-and-butter sandwiches and a bag of fish and chips on a wet Sunday.

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LUX: The film is tender. Are you going soft?
Armando Iannucci: The anger’s still there, the frustration from watching how this world isn’t functioning for everyone. But I’m not a swearing, angry person.

LUX: Did you have certain actors in mind?
Armando Iannucci: I could only think of Dev [Patel] playing David. I’d seen him be funny and awkward, but in Lion he was very strong, focused and charismatic. I wanted the cast to feel like modern Britain, because this was a modern story. I didn’t want it to feel dusty.

LUX: Who have you enjoyed working with?
Armando Iannucci: I’m pleased that I’m still working with people I worked with 20 years ago. I like building up a team, and we’re always getting fresh faces, like Hugh Laurie and Paul Whitehouse. And then suddenly, Daisy [May Cooper] and This Country come along, and you just think, “This is brilliant!”

LUX: What drives you?
Armando Iannucci: I’m always thinking what the next thing might be. You can’t predict it. You’ve got to make your own luck – to be constantly reading, talking, meeting, then something galvanises.

Tilda Swinton as Betsy Trotwood in The Personal History of David Copperfield

LUX: Is there a fundamental difference between British and American humour?
Armando Iannucci: It’s less noticeable because television is now so international. Avenue 5 is an American show, but we’ve shot it all in the UK, with Hugh Laurie as the lead. It’s good that we’re doing these joint ventures – we’re finding a comedy that’s not diluted, but that we all can respond to.

Read more: French designer Philippe Starck’s vision of the future

LUX: Can satire work in our current climate?
Armando Iannucci: I have no desire to do a Trump project, but if other people want to, great! What I’m mindful of is that, because [Trump is] his own joke and is also dangerous, you can’t turn him into just a joke. That makes him safe; that neutralises him.

LUX: How did you feel when The Death of Stalin was banned in Russia?
Armando Iannucci: I was just upset! There were debates in the Russian Duma with people saying, “You’ve made this the most famous film in Russia,” which they had. There were 1.5 million illegal downloads of the film, so it was absurd really.

LUX: What has made you laugh this year?
Armando Iannucci: Fleabag is tremendous. Bill Maher did a closing monologue on Real Time recently that was hilarious, about white guilt. And Taskmaster always makes me laugh.

LUX: What next?
Armando Iannucci: We are editing a series that will be out this year on HBO. It’s set in the world of space tourism in 40 years’ time, with Hugh Laurie as the ship’s captain.

‘The Personal History of David Copperfield’ was released in January.

This interview was originally published in the Spring 2020 Issue.

L’École, School of Jewellery Arts, is housed within the Van Cleef & Arpels headquarters in Paris

L’École is a school of jewellery arts based in Paris and supported by Van Cleef & Arpels, offering a luxurious learning experience led by industry experts. Digital Editor Millie Walton signs up for a class

Based one floor of Van Cleef & Arpels‘ headquarters in Place Vendôme in Paris, L’École was established in 2012 with the aim of introducing the wider audience to the world of high jewellery and its significance through the ages. Whilst the school was founded and is supported by Van Cleef & Arpels, it is not, as one might assume, an elaborate marketing stunt (during my class, for example, the only mention of Van Cleef & Arpels is via small-print on the slideshow), but rather a genuine centre of learning albeit a luxurious one. Classes take place in a palatial room which was once the office of Van Cleef’s President and CEO Nicolas Bos, with a break for tea, coffee and Parisian pastries in a stylish lounge filled up with glossy coffee table-books, whilst the teachers themselves are leading industry experts, which allows the classes to cater to every ability.

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The classes fall into four main categories: ‘Introductory’ (which offers a general overview), ‘The Universe of Gemstones’ (with two classes exploring diamonds), ‘Savoir Faire’ (featuring hands on workshops in which you get to actually try out various jewellery making techniques such as Japanese Urushi Lacquer) and ‘Art History of Jewellery’ (which investigates jewellery aesthetics of different time periods). On this trip, I’m signed up for an art history class on ‘Gold and Jewellery, from Antiquity to the Renaissance Princes’, which begins with Ancient Egypt and ends with examining portraits of Henry VIII and Elizabeth I.

Classes take place in the original office of Van Cleef’s President and CEO Nicolas Bos

Whilst the prospect of four hour lecture on jewellery is daunting, our teachers Inezita Gay-Eckel and Léonard Pouy are energetic and brilliantly knowledgable with infectious enthusiasm for their subject matter. The class itself mainly follows a standard lecture format, but we are encouraged to jump in with questions, and specialist terms are noted down on the whiteboard for us to copy into our L’École branded notebooks.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

Halfway through, Léonard appears, gloved and bearing a tray of delicate jewellery pieces. We’re encouraged to apply our new found knowledge to locate each piece to its time period, and whilst it’s still largely mystifying, it’s satisfying to even know what kinds of things we should be noticing.

The point of these classes, Inezita tells us, to provoke curiosity so that students feel compelled to take their learning further. At the end of the class, we’re each given a tote bag with a certificate and reading list of books, websites and museums across the globe.

Find out more: lecolevancleefarpels.com

Italian entrepreneur Flavio Briatore’s newest restaurant opening offers a lad-back fine dining experience in Knightsbridge

Flavio Briatore has never stood still. From Formula One racing, to a nightclub empire, to high-end restaurants, he has transformed all the industries he has been involved with. At the heart of all his work is glamour and luxury, and his latest dining offering, Maia in the heart of London’s Knightsbridge, takes this to a new level. Kristina Spencer investigates

Adrenaline, excitement, adventure – these have been a part of Flavio Briatore’s life since the early days. Born in 1950, the Italian tycoon worked as a ski instructor and a door-to-door insurance salesman before meeting Luciano Benetton, founder of the eponymous clothing company. Known for his business wit and endless charm, Briatore was soon appointed Benetton’s director of American operations and went over to the US to open more than 800 stores during the 1980s.

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In 1988 in Australia Briatore saw his first grand prix and a year later was named commercial director of Benetton’s Formula One team. The Italian understood that, for the audience, racing was less about the mechanics behind the operation and more about the spectacle and the excitement. Formula One had never seen anything like him before – Briatore transformed the sport into one of the most glamorous on the planet, and made a fortune along the way.

The restaurant Maia offers a swinging sixties-inspired ambience

It was Briatore’s ground-breaking vision that made Benetton a winning team within five seasons. Demonstrating his skill as a talent spotter, in 1991 he signed the driver Michael Schumacher, who won his first titles in 1994 and 1995. In 2000, after Renault bought Benetton’s team, Briatore signed a contract with Fernando Alonso, who was 18 at the time. Five years later Alonso won his first World Drivers’ Championship.

Briatore’s vision was one of success, and he loved what came with it. He dated models Naomi Campbell and Heidi Klum, launched a luxury clothing brand and eventually entered the luxury hospitality industry. Why? “My whole life has been about luxury. It’s where I feel most at home, and I wouldn’t do anything else,” he declares.

The businessman owns a Spa resort in Kenya and nightclub-restaurants in Monte-Carlo, Tuscany, Dubai and London. His most recent addition is Maia, on Hans Crescent in the heart of Knightsbridge, offering both traditional Italian dishes and plant-based choices. With Maia, Briatore wanted to create an “around-the-clock venue,” where you could spend anywhere from an hour to the entire day. “You can have a business lunch or an early evening aperitivo and carry on through to dinner. Maia is dynamic and adapts to the time of the day with a different atmosphere and offerings.”

Maia’s menu features traditional Italian dishes as well as healthier options

Maia is open all week for breakfast, lunch, dinner and everything in between. Its mission is to bring the soul back into the neighbourhood and create a go-to place for the locals, be it for a laid-back afternoon aperitivo or a family celebration. “Many Knightsbridge residents are already regulars,” says Briatore. “They come back because the staff know them by name and they feel they are taken care of.”

The menu has an array of contemporary versions of Italian classics, with vegetarian and vegan options. But can Italian food really be healthy? “Italian food is so versatile,” laughs Briatore. “Beyond the clichés, you will find a choice of fresh, seasonal dishes,” created by Michelin-trained Head Chef, Mauro di Leo. There are the usual suspects: cacio e pepe, veal Milanese and white fish ceviche with veggie crisps. But there is also a detox Maia salad (chopped kale, broccoli, cauliflower, parsley, carrots, sunflower seeds and lemon-ginger dressing) and an abundance of avocado on the menu. Maia might be onto something.

Health and wellness have been buzzwords for some time, but over the past couple of years they have changed the food industry. Rather than simply a trend, wellness has become an ongoing commitment, especially amongst millennials and Gen-Zs who deeply care about having a healthier lifestyle; and although it comes at a premium, they are ready to pay.

Francesca Giacomini’s protein salad bowl at Maia, Knightsbridge

Which is where Maia comes in. “All around us, we are being given more and more opportunities to eat a plant-based diet; it’s good for us and good for the planet so I can’t see that going away,” says Briatore. “Being Italian, this trend is actually what our food culture is based upon, and not that different from what our parents and grandparents put on the dinner table every day.”

The restaurant offers a healthy and nutritional menu from its in-residence wellness advocate Francesca Giacomini of ‘Francesca The Method’ fitness and nutrition plans. But Maia shouldn’t be mistaken for a health parlour: the afternoon tea is a treat with freshly baked cakes and pastries, and if you are after something stronger, Richard Woods, the award-winning mixologist, will mix you a drink.

Maia’s interior is subtle, referencing the 1960s with comfortable chairs and soft furnishings in dark leather around dark, glass-topped tables. Come evening, the curtains are drawn over floor-to-ceiling windows and the lights go down. It is important not to distract from the atmosphere, according to Briatore, as “the guests are at the heart of the restaurant – clients are the best decor we can get”.

The restaurant may be the newest addition to the Billionaire Group, yet it is certainly not the last one – early in 2020, Briatore will be opening a Crazy Pizza in Monaco, following its success in London, and Billionaire Riyadh will be launched. Briatore’s ambition is to continue to grow his empire – he brings a lifetime of experience with him . “I believe in calculated risk” he says “and I have learned you can’t always win but it sure feels great when you do!”

Find out more: maiamood.com

This article was originally published in the Spring 2020 Issue.

Two Point Two AW20 collection

Anvita Sharma

Anvita Sharma founded her Delhi-based fashion label Two Point Two to celebrate individuality through genderless collections that reject all forms of stereotyping and categorisation. Following the launch of the brand’s latest collection at London Fashion Week, Abigail Hodges speaks to the designer about the concept of beauty, self-expression and acceptance

1. Can you tell us about the historical events that inspired your AW20 collection?

Every collection that we have done so far has had a multicultural reference to it. Maybe it’s because I have lived in such different countries as well as among such different nationalities that amalgamation of these different/opposing or similar things comes very naturally to me. As a creative person, I try to challenge myself with every season. To do something that Two Point Two has not done before, may it be in relation to colours, silhouettes or embroideries.

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With this collection we wanted to take a step forward, and mix art and comfort. ‘The Self’ embodies a reconceptualisation of genderless clothing, aspiring to refashion a world that breaks down the boundaries of gender and illuminating the very fluidity of it. It speaks about self-confidence despite flaws and quirks. It is about finding perfection in the imperfections; about embracing one’s uniqueness and weirdness because that is what sets you apart from the rest. It is a synthesis of the masculine and feminine energies of the universe in one body which are depicted in our inspiration of the embroideries – “Ardhanareshwara”, an androgynous form of Lord Shiva and Parvati. We made our artwork using the tantric symbols of these deities mixing it with the Japanese character Enso as well as some genderless faces.

A look from ‘The Self’ collection by Two Point Two, which launched at London Fashion Week 2020. Photo by Gio Staiano

2. How is your brand philosophy reflected in the models that are chosen to showcase the pieces?

We celebrate individuality, confidence and diversity. [Our philosophy] aims to create an “agender” identity, which has characters from maybe both the binaries or maybe neither. It strongly stands against stereotyping and categorisation of anything. Two Point Two believes that beauty exists in every soul and it’s all about accepting and endorsing it as your own. We focus on the individual and not their gender, culture, race or size and support them to express their individuality through clothing even if it’s something unusual. Being ‘Typically Atypical’ is our motto. We chose models who we thought have very strong personalities and character to them. We were very pleased to have all of them in our show as each and every one of them represented Two Point Two’s brand philosophy of inclusivity and individuality to the core. As we did not have any particular category or guidelines as to what type of faces we need, we saw so many interesting people at the casting and instantly fell in love with so many of them that it became difficult to choose.

Two Point Two AW20 collection

3. Do you face any institutional obstructions when working to showcase a genderless collection?

The world has started going in a direction of all-inclusivity. It’s becoming very welcoming and embracing everyone’s individuality day by day. Self-expression is easier now than 10-20 years ago. And it’s only getting better. However, since the norms/criteria or categories still exist, there will always be stereotyping among things. Whether a particular look is too feminine or too masculine. Beauty is connected to a particular idea that the society creates. Sexiness is connected to a particular image or type of looks. Idolising that concept of beauty sometimes feels like an obstacle to who we, you and I are. The constant justification required as to why genderless fashion and people adorning it are also sexy/beautiful is something which we face and have no problem reminding everyone about it multiple times.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

I was very self-conscious about my looks while growing up. Still sometimes, very rarely, I fall in that vicious cycle of idolising the perfect beauty. So, for me, the concept of Two Point Two and the celebration of individuality and self-confidence it stands for, as well as rebelling against giving any sort of justifications for who you are, is the main goal while working on genderless collections. Also, the gender disparity and the problems the LGBTQIA community faces in India is something I strongly stand against and this is a way to support their community as well as any individual who feels that they don’t “belong”.

4. Which are your favourite pieces from this latest collection?

Oh, it’s very difficult to choose. They are so different yet so similar to each other. I poured my heart and soul to each garment and each detail. But if I have to choose I’ll have to say the monochrome olive-green look. It was very unexpected as the decision of changing its combination happened moments before the runway, so I was very pleasantly surprised by it myself. This is what fashion is to me. Fast paced, maddening and yet very satisfying.

Anvita Sharma’s favourite look from ‘The Self’ collection by Two Point Two. Image by Gio Staiano

5. How has your design process evolved over the recent years?

I think there is a massive growth in terms of design aesthetic as well as the process that we follow. With every season, I learn from my mistakes and evolve and grow making sure that those mistakes are not repeated again. We are of course more organised and clear now as compared to our first collection. Although, our brand ethos, philosophy and belief remains as strong as when we started the brand. And, we still work on a ‘go with the flow’ basis and let the inspiration take over when it has to instead of actively looking for one. Like mentioned earlier, my favourite look was very last minute and unexpected, so these things happen very spontaneously and I strongly believe that the energies of the universe guide you and take you where you are meant to go.

6. What’s your five year vision for the brand?

I want Two Point Two to have a global audience and impact in the coming years as the brand is non-demographic and all-inclusive and can be appropriate for any market and any customer in the world. We also like to be working with more handloom and handwoven fabrics which we are already exploring and used in some collections at the moment and planning to get more involved in it. Also, we would like to support the local artisans and their dying crafts from different regions of India, so we are exploring certain tribes and clusters of various parts in India and getting to know their stories, their histories and cultures as well as helping them economically and incorporating their crafts in Two Point Two and give them an international audience in the coming season.

View the collections: twopointtwostudio.com

French designer Philippe Starck. Image by JB Mondino.

Legendary French designer Philippe Starck gives Mark C. O’Flaherty his radical vision of the future: a time when designers won’t be needed – and maybe even chairs

“I’m not interested in aesthetics anymore,” says Philippe Starck, sipping on a glass of mineral water in the Royal Academy in London. “I am interested only in our evolution, and how the intelligent craft of human production is going to be rerun by dematerialisation. We are working on making things disappear.” As Starck speaks, I notice the periodic flashing of a red LED from beneath the skin on a fingertip of his left hand. It’s extraordinary. I ask him what it does – is it connected somehow to his laptop, perhaps? “Ah, it’s magic!” he says, cryptically, before steering the conversation to his ongoing project with the Roederer champagne house: “I never wanted to just design a bottle, I wanted to share in the making of what was inside. And it was about creating something that had less in it, nothing added, no sugar.”

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We are at the Royal Academy for the launch of the new Roederer-Starck 2012 rosé champagne, where he is judging a competition between 13 artists at the Academy’s Schools to interpret the taste of the champagne through their art. His choice of winner – a white-on-white embossed spiral on paper called Cycles, by Sofía Clausse – is apposite for his ongoing philosophy of design: “It was the most accessible piece,” he says, “It was simple. It captured the spirit of champagne, which to me isn’t a wine, or a reality, but an idea.”

Starck’s AI Chair for Kartell

When the world first caught sight of Philippe Starck’s work in the 1980s, the Parisian-born designer had been creating products for a new way of living. He was changing the vocabulary of interiors, rephrasing the language with futuristic accents on everyday items. His choice of materials was aggressively different from the tradition of French design – he selected transparent plastics, metallics and pop colours. He was as New Wave as the cinema of Luc Besson and Jean-Jacques Beineix and of the architecture of Jean Nouvel. Today, at 70, he is one of the most prolific designers who has ever lived, having created literally (his studio can offer no official number) countless products from clocks to yachts. Today, he still works on an average of 200 projects a year. And yet, as he tells me, he believes that “fifteen years from now, thanks to technology, every material obligation will have disappeared.”

Read more: Chaumet’s CEO Jean-Marc Mansvelt on historic innovations

How does a designer who has been apocryphally credited with 10,000 products balance his current view of a future with nothing in it, with his business model? “The business element will shift,” he says. “We debuted the AI chair with Kartell at Salone del Mobile in Milan this year, and it was the first of its kind ever to be created with artificial intelligence. AI is going to create a new freedom in design. With AI, we can now ask any question, but it’s all about knowing the right question.” He also sees a time beyond furniture. “Design as we know it will be dead,” he says. “There will be better solutions to sitting down than a chair. I think a chair has always put you physically in a bad position. We can do better than a chair.”

The entrance to the Starck-designed L’Avenue restaurant at Saks Fifth Avenue, New York, with stained glass by his daughter Ara

Starck has always been radical. In 1984 he created the interior for Café Costes in Les Halles. With its theatrical blue staircase and oversized minimal clock, it was as much a postmodern landmark leisure-time interior as Ben Kelly’s Haçienda in Manchester, and Arata Isozaki’s Palladium in New York City. All were created in the same decade, but Starck’s project was notably more dramatic because of its location. This was Paris, a city still stuck in Belle Époque aspic. French design was frozen in curlicues and froth. Starck was an iconoclast.

Entries to the Brut Nature competition from Royal Academy students, with (top) The Philosophers’ Reserve by Max Prus, and (here) Tidally locked by Olu Ogunnaike

After a series of successful Paris interiors, he was aligned for a long period with Ian Schrager’s fantastical hotel projects, bringing some of the eccentric visual flair that Schrager and his late business partner Steve Rubell brought to Manhattan nightlife with Studio 54. There was a fairytale, supersized element to much of what he did, from elevated swimming pools to triple-height billowing curtains. From the Royalton in Times Square in 1988 onwards, their partnership helped take Starck’s name and distinctive, witty style to the world.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

While his peers, including Marc Newson – who currently holds the record for a design object at auction after one of his Lockheed Lounge chairs sold for over £2 million in 2015 – focused on rarefied edition pieces, Starck focused on mass production. A rare blue glass Illusion Table sold for $50,000 a decade ago, but Starck is known more for his alien-looking Juicy Salif lemon squeezer – which first appeared in 1990 – and continues to be one of Alessi’s best-selling products of all time. At one point, the company produced 10,000 gold-plated versions, purely for display in the home (lemon juice discolours the surface). His transparent plastic chairs for Kartell – the La Marie, which launched in 1999, and the Louis Ghost armchair, which debuted three years later – are as instantly recognisable as any piece of furniture ever made. They brought avant-garde design to the mass market. But when plastics are being demonised, do his polycarbonate objects belong to the past? Starck remains a passionate cheerleader for the material. “For me, it’s the only way to achieve the quality product I want,” he says. “There is a great difference between single-use plastic and a chair that you can keep for a century or more. The media has created great confusion. I prefer to work with fossil energy than to cut down trees and I would rather use vinyl for upholstery than kill cows.”

Two further entries from Royal Academy of Arts students to the inaugural Brut Nature competition judged by Philippe Starck, with (top) Self-portrait as a Champagne Fountain (2019) by Clara Halstrup and (here) Sun on the coast of the moon by Richie Moment

One area in which he, and indeed most of us, remain guilty in terms of the unfolding climate crisis is in carbon emissions from flying. But Starck is one of the busiest designers on the planet, and for someone who still uses pen and paper and tactile models to create (“If you create using a computer, you are just creating within the frame of the guy who created the software!”), he needs to appear in person for projects. The day after we meet, he has to get up at 4am to catch a plane to Milan where he’ll be for a few hours before flying off again, heading further south. “It’s fine – I am so used to it,” he shrugs. “I once went to Seoul from Paris for three hours.” At 70, he shows no signs of slowing down, but when he takes time out, it’s the most understated resort he has ever designed that he likes to head to. “I like lots of places I have been involved with,” he says, “but the one I really love is La Co(o)rniche in the Bay of Arcachon near Bordeaux. It’s really just a few cabanas on top of the Dune de Pilat, the highest sand dune in Europe. You are there looking at the waves and the sunset and it feels like the best place in the world.”

The choice of a fairly rustic, nay, Zen destination ties in with his world view right now, and his intention to both continue democratising design and make it vanish. Just as he believes the future is chair-free, so he believes our everyday tools and indeed all of our furniture will go. “Designers won’t dictate the aesthetic in the future,” he says, “it will be down to your coach and dietician, because telephones and computers will disappear and everything we use will be incorporated within the body. We will be naked in an empty room, and we will be able to conjure flowers or whatever we want from nothing.” As Starck gesticulates, the red LED flashes on his finger tip again. “So, come on, tell me…,” I ask, “is that part of the new cyborg tech you are talking about?” He smiles. “Oh, this? I got it from the Harrods toy department. Fun isn’t it!?”

Louis Roederer and Philippe Starck

The recent launch of the 2012 Roederer and Starck rosé champagne marks 13 years of the designer’s collaboration with the French family-owned champagne house and maker of Cristal. Starck has been involved in each step of the production, including, of course, the champagne’s packaging. From the first brut-nature product in 2006, the champagne has been created sugar-free, with zero dosage. As Jean-Baptiste Lécaillon, Roederer’s chef de cave  says: “We have used nature as our collaborator as much as anything with our work with Philippe – it is organic, with minimal intervention and a focus on the real taste of champagne. This came from our discussions with him.” The presentation attempts to democratise the luxury product – it looks more like a chic bottle of olive oil than a grand cru. The hand-lettering on the label and box and the rough line of fluorescent pen creating the edging makes it look effortless. As Frédéric Rouzaud, president and family scion of Louis Roederer says: “It represents spontaneity. He wanted a simple paper for the label, and just wrote by hand what the product is. He wanted it to be approachable, to speak to everyone.”

Find out more: louis-roederer.com & starck.com

This article was originally published in the Spring 2020 Issue.

Supported by the Lady Bamford Foundation as a centre for craft and sustainable design, Nila House occupies a 1940s residence in Jaipur restored by Indian architect Bijoy Jain of Studio Mumbai. Image by James Houston

Lady Carole Bamford, the founder of Daylesford Organic, beauty brand Bamford and numerous charitable foundations including Nila House gives us a guide to her spiritual home, Jaipur

Lady Carole Bamford

Where I hunt for treasures…

I always look forward to visiting the government khadi shops. I find myself spending hours there, lost in the piles of beautiful hand-spun fabric. Handwoven in villages across the country, the simple white cloth with all its imperfections is my idea of the ultimate luxury item.

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Cultural immersion…

The riot of colour and sound of the markets is extraordinary, and the old city has some of the best textiles and jewellery. I recently met a family of hand-block carvers who have been creating intricate wooden blocks for generations. Such artisans have a wealth of knowledge that we at Nila House, our new centre for preserving these traditions, believe should be shared with a broader audience so that it can be carried on into the future.

Image by James Houston

My perfect day in the city…

I always start my day with a puja prayer ritual followed by yoga and meditation. Then I will head out with my design team to visit our suppliers. I love visiting the workshops; I always learn so much, watching the dedication and meditativeness of their work. In the afternoon I might explore antique textiles at Rajasthani Arts to see if there is anything for our archives.

Read more: Hôtel Chais Monnet & the beauty of southwest France

Best dining spot…

47 Jobner Bagh is my favourite place to escape the crowds and noise. This charming family-run hotel has the best home-cooked Indian food. My favourite is a bowl of dal makhani, mopped up with a hot naan bread.

The building features a shop and studio spaces for local artisans. Images by James Houston

Home away from home…

We always stay at the The Oberoi Rajvilas. It is our home in Jaipur and the wonderful staff look after us like family.

Worth a detour…

I love visiting the paper factories in Sanganeer, just outside Jaipur. They have some of the most beautiful paper you can find, all handmade from natural materials – from cotton rag and banana fibre to the beautiful textured seed paper that we use for all of our packaging [at Nila House].

Nila House is a cultural centre dedicated to preserving traditional craft methods and supporting artisans across India; it is part of the Lady Bamford Foundation. Find out more: carolebamford.com

This article was originally published in the Spring 2020 Issue.

Traveljar guests can enjoy unique wildlife experiences such as morning walks with the orphaned elephants in Zambia. Imag by Andrew White

Traveljar designs luxurious travel itineraries tailored to guests’ interests and led by industry experts such as scientists, Olympic medalists and award-winning photographers. Chloe Frost-Smith speaks to Libby White, Director of Experiences, and Andrew White, Director of Conservation, about responsible travel, wildlife encounters, and far-flung destinations

1. Conservation is at the heart of your business. What are your top tips on how to travel more sustainably?

Libby: We really try to help our guests to become responsible travellers and learn how their trips can benefit conservation, communities and the environment. My number one tip would be to think about what kind of impact you want to leave behind from your travels. At Traveljar, we have partnered with suppliers who provide ethical and sustainable destinations so our guests are having a positive impact no matter where they choose to stay.

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Another top tip is to get involved! We love to help our guests find meaningful ways to give back during their trip. We can arrange a day of learning about rhino conservation in South Africa, visit an elephant orphanage in Zambia, spend the day reading to kids in a rural school in Zambia at our library project or take a tour around your accommodation and the local community to learn more about the sustainable practices that are in place to benefit the area. Traveljar also donates to one of our four NGO partners for every trip booked with us and all of our itineraries show guests how their trip is giving back.

Wilderness Safari, Chitabe Camp in Botswana where guests can stay in sustainable luxury as the camp is 100% solar powered.

2. Where would you send travellers asking for the most off-the-beaten-track destinations?

Andrew: Two places immediately come to mind for me, the first one being Busanga Plains in Zambia. Located in the northern part of the Kafue National Park, this grassy seasonal floodplain is known for some of the best lion viewings in Africa. Because there are only a few lodges operating here and less visitors, you will get a more intimate safari experience, giving you a true remote bush safari away from the crowds.

Lion on the Busanga Plains. Image by Andrew White

The other destination I would recommend is Virunga National Park in the eastern part of the Democratic Republic of the Congo. This is one of only three places in the world to see mountain gorillas and is very much off the beaten track when it comes to a holiday. Responsible tourism has the chance to make a difference to the communities living here. As well as support the conservation efforts in the park like the Senkwekwe Centre for orphaned gorillas and their ranger program which has over 700 male and female rangers who are protecting the park’s wildlife. For the adventurous, you can hike up Mount Nyiragongo, an active volcano, to one of the world’s largest lava lakes.

Mountain Gorilla. Image by Nelis Wolmarans

3. What has been your most memorable wildlife encounter to date?

Libby: Without a doubt for me it was seeing my very first rhino in Pilanesberg National Park (in South Africa) and then taking to the air in a helicopter for an anti-poaching patrol with our partner, Rhino 911. Seeing these gentle giants in their natural habitat for the first time was incredible but then to also get the chance to learn more about the dangers facing rhinos and the people try to protect them, made the experience one I will never forget. It has made me even more committed to doing what I can through Traveljar to try and help Rhino 911 in saving this endangered species.

Andrew: There is something very exciting about getting the opportunity to watch animal behaviour on a safari. One of my most memorable wildlife moments was in South Luangwa National park with two clients, both of whom had never seen African Wild Dogs before. After picking up their tracks, we found the pack sleeping in the long grass. Wild dogs are very playful and social and we got to watch them splashing around in the pools of water. Strengthening social bonds and listening to the chatter between them highlights their intelligence and our guests were amazed by their actions. That afternoon we followed the pack as they moved along the river in search of Impala and watched with interest as the dogs chased the impala across the plans, using incredible teamwork in the diminishing light.

Libby & Andrew White with Rhino 911 in South Africa

4. How do you define experiential travel, and do you have a favourite moment from one of your expeditions?

Libby: For us, experiential travel is travelling with purpose and the ability to show our guest that you can combine a relaxing, luxury holiday while giving back. We believe that when people travel with purpose, that they have the potential to positively impact the communities and wildlife they encounter along their travels, as well as to come home feeling inspired themselves.

My favourite moment so far has been taking guests to help set up a library in a rural school in Zambia as part of our community engagement commitment. It was amazing to be able to watch my clients read and interact with the kids, to see the positive impact it was having on them as well and to know that, together, we had all been a part of providing books for over 600 children to continue developing their reading skills for their future.

Children reading with books donated from Traveljar’s library project in Mfuwe, Zambia. Image by Andrew White

Andrew: My favourite moment from our expeditions is always the chance to take clients on a morning walk with the orphaned elephants at the Lilayi Elephant Orphanage in Zambia. I have personally been involved with Game Rangers International for the last 10 years and being able to help others learn about the work this incredible NGO is doing to rescue, rehabilitate and release these elephants back to the wild is always very special to me.

5. What makes your itineraries ‘once-in-a-lifetime’ trips?

Libby: All of our itineraries are 100% bespoke, making them completely tailored to the client’s travel wishes. We decided to do our trips this way because we felt like what equals the “perfect” trip for one person is not the same for the next. We take the time to really get to know our clients and understand what they are hoping for from their trip. Guests can choose every aspect of their adventure, along with our expert guidance, from the type of accommodation they stay in, to the activities they participate in, down to which partner we make a donation to from their trip. In planning a trip this way, we can create the “perfect” and “once-in-a-lifetime” adventure for each individual.

Elephant at sunset in Botswana’s Chobe National Park by Barbara Eidel

6. What is your favourite image from your photographic safari masterclasses and why?

Andrew: For me, the photographic masterclass is all about helping our clients get their dream photo. By travelling with Nelis Wolmarans or myself, our guests will visit beautiful destinations with incredible wildlife, leading to a number of opportunities to either learn more about wildlife photography for the first time or to work on perfecting their skills or trying out new techniques. One of my favourite pictures from a photographic masterclass trip was a beautiful elephant at sunset photo by our client Barbara Eidel, taken in the Chobe National Park. I had the chance to take her on her first African safari last summer and help her in developing her wildlife photography skills, building confidence and creativity in her work . Having a client at the end of the trip enthusiastically share their photos with you and ask when the next trip is going to be, makes it a very memorable adventure together.

Find out more: travel-jar.com

The creations of quintessentially Parisian jewellery maker Chaumet may have been fit for an empress in the late 18th century when the company was founded. But the jeweller aspires to be equally at home with the modern woman around the world. CEO Jean-Marc Mansvelt tells Irene Bellucci how they make the new out of the old

Jean-Marc Mansvelt

“For me, luxury is about craftsmanship and excellence. But it’s more than functionality – it’s also about emotion. And luxury transcends fashion, too; it takes time to invent, create and make.

Follow LUX on Instagram: luxthemagazine

“Chaumet’s founder Marie-Etienne Nitot trained under the jeweller to Marie Antoinette, and after the Revolution became Napoleon Bonaparte’s official jeweller in 1805. This led to numerous commissions from the great and the good, including jewels for Empress Joséphine, after whom one of our most iconic collections is named. The brand’s tiaras went on to be worn by queens and rulers across the globe.

Laurel Leaf Tiara by Joseph Chaumet (1920)

“Yet, our history isn’t enough to sustain us in the 21st century; consumers’ tastes have changed as has the function of jewellery itself. Nowadays, a tiara is not really worn beyond special and rare occasions, so in 2010 we reinvented them by moving them from head to finger for our Joséphine ring collection. Once they were crowns expressing power, but now we have brought them into the modern era in a more delicate and wearable form.

“But not all of our pieces are reinventions. We try to mix tradition and contemporary art; we also like to look to the world of music for ideas. In referring just to the past, the risk is that we will repeat ourselves – we need to inject new elements into the process.”

View the collections: chaumet.com

This article was originally published in the Spring 2020 Issue