Brunello Cucinelli’s Spring/Summer 2020 lifestyle collection includes handcrafted ceramic tableware

Brunello Cucinelli’s latest ceramic tableware collection evokes the warmth and rustic charm of rural Tuscany, says Chloe Frost Smith

Brunello Cucinelli’s Spring/Summer 2020 Lifestyle collection takes inspiration from natural forms, using traditional Italian handcrafted techniques to create a rustic mood that celebrates spontaneity and irregularity in texture, light and colour.

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The ‘Tradition’ ceramics are amongst the most beautiful pieces, combining ancient Umbrian pottery craftsmanship with striking modern shapes. Following an initial forming phase, each piece is fired three times and decorated by hand using the ‘engobe’ technique, a special application of clay coating used to achieve a light polished finish and delicate hues.

The espresso set is amongst the highlights, comprising two dainty coffee cups balanced on saucers with asymmetrical edges, whilst the two-piece plate set features a swirling pattern reminiscent of the texture of a tree trunk.

Seemingly simplistic in design, the uneven lines create a sense of individuality throughout the collection, allowing diners to arrange the complementary pieces together or effortlessly style separately.

Find out more: brunellocucinelli.com

Installation view from Huang Yong Ping’s exhibition ‘Wu Zei’ at Musée océanographique de Monaco (represented by Kamel Mennour)

The art world has been hit harder than most industries by the global pandemic, but the industry is adapting quickly with new digital platforms and a renewed focus on local identities. Nick Hackworth speaks to three leading European galleries, Victoria Miro, Kamel Mennour and SETAREH, about the future and how their businesses are responding

‘It was too much’ is an almost universal sentiment expressed now by those at the top of art world reflecting on pre-Covid times. For those caught up in the global merry-go-round of art fairs, biennales and major openings, the disconnect between the art – the thing-in-itself – and the business and culture around it, was increasing apparent year on year.

The energy and flavour of that now, suddenly distant world is brilliantly captured in the prologue of Boom, Michael Shnayeson’s recently published account of the rise of the contemporary art market. His opening scene is set in the Grand Hotel Les Trois Rois on the eve of Art Basel 2017, where the mega dealers are congregating: ‘Gagosian has flown to Basel on his $60 million Bombardier General Express jet two days before the fair’s first choice VIP preview… Most other dealers would arrive on Monday, a day before the fair’s coveted VIP opening. A few, like silver haired blue chip dealer Bill Acquavella, would arrive in their own planes. Others would descend at Basel’s EuroAirport in NetJets filled with collectors and money, like an art world air force.’

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Basel was, of course, just one of the many stops in a hyper-globalised art world sustained by an increasingly intense circulation of people and product. In a bid to capture as much of that energy as possible the biggest galleries, the likes of Gagosian, Pace and Hauser & Wirth opened spaces across the world, becoming truly global businesses.

Generally speaking, however, art is an object of aesthetic and intellectual contemplation, often revealing more of itself to those willing and able to take the time to look and think – a resource squandered by a culture of constant travel. Then the pandemic hit, the music stopped – cue much soul-searching about the systemic problems in the art world, prime among them, an profound imbalance between the global and local.

Victoria Miro, London & Venice

Founded in 1985, Victoria Miro is one of the most significant contemporary galleries in the world and a foundational presence in the London art scene, representing some 40 international artists and artist estates. The gallery has a boutique space in Venice, and a space in Mayfair, London, but without doubt the gallery’s spiritual home is its extraordinary complex of voluminous spaces designed by Claudio Silvestrin in its building on Wharf Road in East London.

Victoria Miro and gallery partner Glenn Scott Wright in Victoria Miro Mayfair, with artworks by Yayoi Kusama
Artworks courtesy the artist, Ota Fine Arts and Victoria Miro. © YAYOI KUSAMA

Glen Scott Wright: “We don’t see ourselves as specific to a locale. Our artists come from all over the world, they show all over the world, and the world comes to London. I think London is a great place to be for that. In the past, of course, we were able to to engage with specific localities through art fairs. For a while we were doing something like twelve or thirteen fairs a year but obviously that will change now and we’re finding different ways of addressing that global marketplace. The digital marketplace is going to be an increasingly important, of course.

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We recently did a collaborative project with David Zwirner called Side by Side, where we created a micro-site, showing some of the artists that we both work with. We also used the occasion to launch an extended-reality app called Vortic Collect, a project that Ollie, Victoria’s son, has been developing for three years now. On Vortic people can actually enter our spaces virtually and look at art. They can walk around a Grayson Perry sculpture, they can walk up to a Njideka Akunyili Crosby painting and look at it close-up. It’s really very exciting that people can look at exhibitions on their phones or their iPads and have an accurate experience, in terms of being able to see what the art is like.

Victoria Miro, 16 Wharf Road, London N1 7RW. Courtesy Victoria Miro. Photograph © James Morris.

Installation view of THE MOVING MOMENT WHEN I WENT TO THE UNIVERSE
, by Yayoi Kusama, Victoria Miro, Waterside Garden, 16 Wharf Road, London N1 7RW. 3 October – 21 December 2018. Courtesy the artist, Ota Fine Arts and Victoria Miro. © YAYOI KUSAMA

We’ve actually doing well in terms of sales on these digital platforms. We’ve had opened a sell-out show with Flora Yukhnovich on Vortic. The project with David Zwirner was very successful for us as was Frieze New York online. This illustrates an interesting point. I have clients of the old-school variety who’ve been collecting for decades and faithfully go to all the major fairs, biennales and openings. Some of them have written to me and said, ‘Look, we’ve always bought art that we can see, experience and engage with in the gallery, at an art fair, or see in a major exhibition. That’s not going to happen anymore. We’re not travelling. We’ve never bought art digitally, but we still want to buy art! So we’re going to be buying art and looking at digital images for the first time.’ These are several conversations that I’m merging together. But, in essence, the way people engage with art is changing and I think that’s a really interesting paradigm shift.

In terms of what change we would like to see happen in the art world as a result of this crisis, the change of pace is good. I mean, the amount of travelling I was doing! I just looked at first ten weeks of the year in my diary and I was in a different city, at a different opening, at a different event, at a different exhibition every other day. And this is all over the world, from Paris to Asia, to Australia to the States. Literally, just bouncing around all these places. I was recently scrolling through my photos and it was just pictures of planes and airports and different cities and dinners and openings and artists. My life was crazy! So less travel would be great and in terms of global warming it’s good that we’re not shipping things willy-nilly all over the world. Just having a little bit of breathing space has been fantastic.”

Find out more: victoria-miro.com

Kamel Mennour, Paris & London

Kamel Mennour

One of the world’s most respected gallerists, Kamel Mennour has been in business for over 20 years. His roster includes some 40 artists, including Tatiana Trouvé, Anish Kapoor, Lee Ufan, Daniel Buren, Douglas Gordon, Philippe Parreno, Martin Parr and Ugo Rondinone. Mennour is known for the quality of his program, going the extra mile to realise the creative ambitions of his artists and for championing his home town of Paris. He has three galleries in the city, two on the left bank and one on the right bank on the prestigious Avenue Matignon, as well as a boutique London space in the Claridge’s building.

Kamel Mennour: “People were often offering me opportunities to open everywhere. Bigger spaces in London, New York or Hong Kong and I was always saying no. I prefer to be extremely stable and to be extremely confident and strong in my city. I decided long ago that being Parisian was in the DNA of the gallery.

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As you may know, twenty years ago, Paris was totally empty, there was nothing in terms of contemporary art. I was thinking that I could, along with others, help restore Paris’ place in the art world. Also I didn’t want to be the number 38 in New York, you know? In Paris I am one of the key players, the one that the Pompidou Centre or the Palais de Tokyo calls. But of course, in order to expand and promote my artists and the gallery, my strategy is to be ambitious at art fairs like Frieze or Basel, and to stage extremely strong displays that keep the attention of the art world.

Kamel Mennour’s gallery space on Avenue Matignon, Paris

An installation by Tatiana Trouvé at Kamel Mennour’s booth at Frieze London 2018

When we opened the space on Avenue Matignon [on the right bank of Paris], people said, ‘Are you kidding? Why are you opening there?’ The right bank, yes, that’s where the wealthy collectors live, but for contemporary art at that time, it was a desert, a total no man’s land. People are coming there now, but my idea was quite retro. In the thirties and the forties, before the second World War, the right bank was where the centre of Paris’ contemporary art scene, but it collapsed as France collapsed. So I wanted try to do something new and bring something back. I said to myself, instead of opening something weak in New York, I would prefer to be confident and strong in my own city and to be very present. When a collector or the director of a museum wants to see me, I’m here. I can be extremely reactive and I am always taking the subway or an Uber to meet people. I also represent artists from my city. Some of my artists are based in Berlin or New York, but most of them are here and I’m always trying to persuade artists to come and live in Paris.

Now, with lockdown, the world we knew before – with planes and travel – is gone. Now, I’m thinking every day how lucky I was to have had this intuition, to be strong here. I wish them all the best, but it will be extremely difficult for those galleries that have places all over the world to manage in this new world.”

Find out more: kamelmennour.com

SETAREH, Düsseldorf

Samandar Setareh

Founded in 2013 by two brothers – Samandar Setareh and Elham Setareh – SETAREH grew out of a third generation family-run business specialising in textile art. That background eventually led them to open the gallery which now has three spaces in Düsseldorf, including two on the city’s grandest avenue, Koenigsallee and one, SETAREH X, that showcases emerging artists. With its broad program of global contemporary art, the gallery has brought a new and vital energy to the venerable Rhineland art scene.  Highlights have included shows of new Iranian and Chinese contemporary art, as well museum quality shows of major German art such as Hans Hartung and the Zero group.

Samandar Setareh: “I think this pandemic will have a profound effect on the art world. I already see successful business models being challenged. Galleries that had detached themselves from their artists and their natural collector base and moved into a kind of travelling environment and artificial marketplace are going to find it difficult. Galleries that are are deeply rooted in relation to their collectors and their artists will be the winners of this new time which we are facing. This is an approach we’ve had from the beginning. On starting the gallery, we decided to be deeply rooted in this area and to make that a point of excellence in a sense. We have deep relations with the collectors and collections here, and we’re very close to the institutions of the regions. We have world-class museums in this area, the Ludwig museum in Cologne is very close, the NRW Collection in Düsseldorf and one of the best things is that we have is the Kunstakademie Düsseldorf, which has produced perhaps 75% of the very important German artists in the post-war period. So while Düsseldorf isn’t a financial hub compared to places like Paris, London or New York, it’s a cultural production hub.

Read more: Founder of London Art Studies Kate Gordon on digital art history

‘Light and Ceramics’ by Otto Piene at SETAREH Gallery, 2014

Installation view of Zero group exhibition at SETAREH gallery, Düsseldorf

When we started in 2013, the art market was exploding in terms of how international it was becoming. The Rhineland then was still dominated by all big artists, such as Gerhard Richter, Sigmar Polke and Joseph Beuys (who all come from the Düsseldorf Academy), the Zero art movement, Markus Lüpertz and Jörg Immendorff and so on. They dominated the way people collected and accepted art. Being from a mixed German and Persian background, one of our missions was to expand and broaden the kind of art that collectors in the region looked at and to make it more diverse, culturally. So we staged the first Italian Modernism art exhibition in Germany, the first contemporary Iranian art show in the region and have showed artists from China and so on. That’s why we also had to have a number of different spaces in the city so that we can show a wide range of art at the same time.”

Find out more: setareh-gallery.com

Nick Hackworth is a writer and curator of Modern Forms, an art collection and curatorial platform founded by Hussam Otaibi, Managing Partner at Floreat Group.

Image by Tobias Tullius

Last month, The Prince Albert II of Monaco Foundation announced the winners of its 2020 awards, selected for their outstanding commitment to the conservation of our planet. Here LUX profiles the three recipients

Each year, The Prince Albert II Foundation honours international figures and organisations for their environmental efforts in three areas: climate change, biodiversity and water.

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This year’s ceremony took place virtually with the presentation of three awards to the International Water Management Institute, Professor Johan Rockström and Deccan Development Society, each of whom will receive grants of 40,000 euros to support the continuation of their initiatives.

Claudia Sadoff

Water Award – International Water Management Institute

Represented by Claudia Sadoff, General Director

Based in Colombo, Sri Lanka, the International Water Management Institute (IWMI) develops science-based solutions for some of the world’s poorest people. Originally founded to improve irrigation, the institute now focuses more broadly on water as a critical component of social and economic development.

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Their work includes tackling the issue of feeding our expanding global population by delivering solar-powered irrigation to smallholder farmers, analysing how the world builds resilience to water related disasters by using satellite technology, and addressing the challenge of reducing global poverty. The organisation has also pioneered work on safe and economical wastewater recycling.

Find out more: iwmi.cgiar.org

Professor Rockström

Climate Change Award – Professor Johan Rockström

Professor in Earth System Science at the University of Potsdam
Director of the Potsdam Institute for Climate Impact Research.

Professor Rockström is an internationally recognised scientist and the director of the Potsdam Institute, which addresses crucial scientific questions in the fields of global change, climate impacts and sustainable development.

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Rockström is an environmental consultant for several governments, business networks and foundations, and he also acts as an advisor for sustainable development issues at international meetings such as the World Economic Forum, the United Nations Sustainable Development Solutions Network (SDSN) and the United Nations Framework Convention on Climate Change Conferences (UNFCCC).

In 2019, he was appointed chair of the Earth Commission, an initiative of 20 globally renowned scientists which aims to delineate the exact scientific borders of what our planet can bear in terms of human-made climatic changes.

Find out more: pik-potsdam.de

PV Satheesh

Biodiversity Award – Deccan Development Society

Represented by PV Satheesh, Director

In 1983, the Deccan Development Society (DDS) began working with impoverished and socio-politically disadvantaged women in the remote Zaheerabad region of South India. The DDS set out initiatives to improve the quality of land through ploughing and planting hardy crops, which could survive the infertility of the soil and harshness of the weather. Over time, thousands of acres were regenerated for farming and forest land was created by the planting of over a million trees. Through these efforts, the women of DDS achieved food sovereignty.

Find out more: ddsindia.com

For more information on The Prince Albert II of Monaco Foundation, visit: fpa2.org

Bentley’s latest Bentayga SUV is more environmentally friendly, faster, more comfortable

LUX Editor-in-Chief Darius Sanai discovers Bentley’s new, faster and more environmentally friendly Bentayga model revealed earlier this week

You, dear LUX reader, have a transport conundrum. Your driver is self-isolating, and you have a desperate need to transport yourself, your latest husband, two very long adolescent offspring, and a large number of Louis Vuitton suitcases, from the private aviation terminal at Nice airport to your villa above St Tropez. (The husband does not do helicopters).

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We are pleased to say that a solution is at hand, courtesy of British (well, British-based) automobile manufacturer Bentley and its new Bentayga SUV, announced this week.

You will naturally have been familiar with the existing Bentayga, which was pretty much the most luxurious way to transport a large family at frightening speed while taking up most of the Autoroute Provencale.

The new model is more environmentally friendly, faster, more comfortable and has more room in the rear for those ever-growing adolescents, or alternatively your long-legged late night companions home from La Voile Rouge and, crucially, it looks better: sleeker, and less huge.

Read more: Two of London’s best restaurants in our home

Apparently, it drives better also, thanks to a wider track between the wheels and various other improvements that we won’t go into here. The key point is that you will feel like les genoux de l’abeille (the bee’s knees) as you hand the keys to the voiturier at Les Caves. Now, where’s the alcohol-free Dom Perignon?

Discover more: bentleymotors.com

Novikov 2 Go is a new service from the innovative Mayfair restaurant, offering tasting menus cooked, packaged and delivered to your door.

Novikov, the famed Mayfair restaurant, is now offering perfectly prepared cuisine from its Asian and Italian kitchens, delivered to your London home. Our Editor-in-Chief Darius Sanai had to check it out

Your chef and brigade are back with you, thank goodness, being tested every day after a trying time in isolation during lockdown during which you had to try to fend for yourself.

But while her involtini di salmone con senape e marscapone is as divine as ever, you are missing the innovation, the intricacy, not to mention the vibe, of your favourite go-to restaurants.

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Enter Novikov 2 Go. A new service from the modern-legendary Mayfair restaurant, this involves the chefs creating a tasting menu of up to 15 dishes for you, your loved ones, and the guests you are inviting to sit in your garden (suitably physically distanced) and delivering it cooked, packaged, and ready to serve, at the time of your choosing.

Above: The Italian restaurant at Novikov in Mayfair and below, Italian tagliata with rocket salad and Parmesan

We have been fans of Novikov ever since Russian dining maestro Arkady Novikov, who owns the Vogue café and Tatler Club in Moscow, came over to Mayfair to open this huge, innovative space containing an Asian restaurant, Italian restaurant, and a bar. It should not, perhaps, have worked, but the place is packed (or rather, it was when it was allowed to open) simply due to the quality of its food, as well as its vibe.

We had to try out Novikov 2 Go.

We placed our order, mentioning that we were slightly more biased towards seafood than red meat, sat back, and let it happen. At the appointed time, a black cab rolled up outside with eight Novikov branded paper bags, containing an array of packages and boxes. The food was steaming hot. (It helps if you live near the restaurant).

Above: the Asian resturant and below, Novikov’s crab apple salad with wasabi dressing

Image by @sheherazade_photography

A beautifully presented menu, printed for each guest, explained what we were getting. Starters included the Novikov duck salad, a crab and avocado salad, salmon tartare with yoghurt dressing (which came, like all the dressings, clearly marked in separate containers so you could add them just before eating), and ultra-creamy burrata with Sicilian datterino tomatoes.

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The next course skipped into Asia: delicate hamachi yuzu truffle maki, and scallop jalapeño Maki with a sting in the tail. (Plenty of soya sauce and wasabi was provided). These went particularly well with the icy bottle of Louis Roederer Brut Premier (a classy champagne for a classy meal) that came with the meal in its own white cooler bag.

An unexpected treat was Novikov’s signature pizza with black truffle, fior di latte and soft cheeses (a COVID kilo in one go). The miso baby chicken, which I had not tried before, was the highlight of the meal, rich and detailed; and the miso black cod was like welcoming an old friend, together with its signature bamboo leaf.

Novikov’s Italian Sicilian red prawns

Old favourite accompaniments were also there: grilled asparagus skewers with an umami sauce on the side, sauteed spinach, excellent egg fried rice and Singapore noodles that were light, bright and full of flavour.

We didn’t have space for the desserts and kept them for the next day. Ok, the Rocher XL, a giant ice cream and extremely rich dark chocolate ice cream and nut coated Ferrero Rocher ball, was devoured, but the hazelnut profiteroles, Tiramisu and Panna Cotta just had to wait.

Was it as good as going to Novikov? In some ways, it was even better. We had cuisine from both restaurants at once, something you can’t do there; we didn’t have to leave our home, and we were sitting in the garden. It was like having the chefs and all their ingredients turn up at your home, but with zero disruption, and served exactly when we wanted.

This could become habit-forming.

Novikov to Go delivers to selected address in London. Private jet orders can be delivered direct to the runway. For deliveries, customers will need to email [email protected] or call 020 7399 4330. To view the menu visit: bbot.menu/novikov2go

Dior Rose des Vent ‘Sport’, a sketch by Victoire de Castellane

Dior Jewellery’s Creative Director Victoire de Castellane reimagines the latest additions to the brand’s ‘Rose des Vents’ collection in a series of whimsical lockdown sketches. Here, Chloe Frost-Smith picks her favourite pieces

New Rose des Vents earrings

A new series of playful illustrations by Victoire de Castellane depicting domestic scenes in the Dior maison during lockdown, feature the Artistic Director for Dior Joaillerie alongside Christian Dior enjoying an array of at-home activities.

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Hidden amongst these imaginative self-portraits are the designs for the latest ‘Rose des Vents’ Fine Jewellery collection, which subtly replace everyday objects in the colourful sketches including, fridge magnets in the kitchen, flowers in the garden, dumbbells in a home-workout scene, and even appearing on the screen of a Dior television.

Dior Rose des Vents ‘Cooking’ by Victoire de Castellane

A reinterpretation of Dior’s lucky star in the form of a compass rose, the distinctive eight-pointed star appears throughout the collection and de Castellane’s illustrations, adorning circular medallions set in gold and punctuated with diamonds.

Read more: Confined Artists – Free Spirits, a lockdown portrait series by Maryam Eisler

Whilst some pieces are more simplistic in colour, featuring a singular stone such as lapis lazuli in a pair of earrings, or the green four-strand necklace made of emerald and malachite, the multicoloured ‘Rose des Vents’ choker is more daring in palette. A combination of softer tones such as pink opal and mother-of-pearl is layered with vibrant lapis lazuli and turquoise talismans, which can be worn both ways to showcase the stars or the gemstones respectively.

New additions to the Rose des Vents collection

In contrast, the ‘Rose Céleste’ pieces displaying a sun, moon and stars motif are a monochromatic ensemble of black and white onyx and mother-of-pearl. Following the theme of day and night, which can be further emphasised by reversing each piece, the celestial details of the bracelet, necklace and earrings pay homage to Dior’s passion for divinatory art.

Discover the full collection: dior.com

London Art Studies offers mini art online art history classes for members

London Art Studies is the world’s first online arts education subscription website, offering mini video lectures and courses on artworks, artists and movements. Ahead of the site’s launch of a new section dedicated to children and teenagers, we speak to the founder Kate Gordon about creating effective short-form content and the future of the art world.

Kate Gordon. Photo by Ki Price

1. How did you progress from your early role in production to launching an educational art platform?

I took a very roundabout journey into television, starting at Sotheby’s, moving to Carlton Television where I worked on a variety of shows, and then ended up making art programmes for CNN. When the CNN show was cancelled, I was offered a job back at Sotheby’s as Head of Public Programmes for their educational arm. I found I loved combining brilliant teaching with a more popular approach; it was the early days of what now might be called “edu-tainment” and I set up London Art Studies in 2012. A couple of years after that, a friend mentioned that people around the world would want to see our classes and that was the lightbulb moment. It took 2 years to film the beginning of our content library, and we finally went online with our own educational platform in 2018. I didn’t realise until after we launched that I was carrying on a family tradition: my grandmother was a theatre producer, my father a TV producer, and I now produce short-form content for the internet.

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2. Most of the online videos are under five minutes long with many focusing on one specific artwork – why did you decide on this format?

Despite having more technology around us than ever, we’re all that much busier, aren’t we? It’s fairly easy to watch a 3 or 5 minute film, and learn something which stays with you. I also felt that going back to basics for some of the films made sense: everyone knows that the Mona Lisa is the world’s most famous painting, but does anyone really know why? Our short films aim to answer these questions, whether you’re about to visit an art gallery, standing in front of a particular artwork, or simply curious to learn more. We currently offer 12 different series: whether you’re now “virtually travelling” and want to find out what to see in a particular European city, or what really what made Picasso so brilliant, there’s a series to discover. We wanted also to explore the links between art and jewellery, and were lucky to launch our latest series with master jewellers Christian Hemmerle and James de Givenchy.

3. What drives LAS’ content programme?

Our subscribers are terrific, and often suggest series ideas, but it’s often simply a phrase (such as Dangerous Women) or a book concept. One of our most popular series “The Art Market” came about through Georgina Adam’s best-selling book. It’s something the team usually wants to learn more about, or indeed, to teach. There’s a lot of content out there, and we have to make sure that our films are not only relevant but useful. We received our first award only 5 months after launch, for excellence in education, and our most recent award – the Webby – is the digital equivalent of an Oscar. Our approach is often light-hearted, such as our 30 second Instagram post on how to pronounce van Gogh (for example) but the content is serious.

4. Can you tell us about the concept of The Academy and your decision to launch this summer?

We had always planned to launch a site for children/young people, but the lockdown speeded up our plans to do so. We had so many parents email us, saying they were watching the videos with their children, that we realised we had to bring forward our plans to help with home schooling. We’re aiming at ages 7-17, and have been fortunate in finding a new group of teenage presenters, whose enthusiasm for art is easy to see onscreen; I’m learning more from our teenage presenters than I ever thought possible. We’re also aligning content with the A level syllabus, in the hope of exams in 2021. It will also be a useful resource for those off to university to study art history, who haven’t actually taken the A level. People now consume on average 70 minutes a day of filmed content online; it should – and can be – both educational and enjoyable.

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5. How do you think the global lockdown will impact the future structures of the art world?

I think there’ll be great changes structurally for the time being; we’ll no longer be able to simply wander into a gallery without an appointment, or join a crush to see the latest blockbuster. I think museums and institutions are already moving to a hybrid model, with a larger global audience online. I think institutions will engage with local communities that much more, now that tourism numbers will probably decrease. I hope, and suspect, there’ll be more collaboration within the sector as a whole, and perhaps a slightly more agile approach when considering potential new pathways. Lastly, I believe the art world will make a conscious decision to reflect more of our diverse society and encourage the talents of those who have been traditionally overlooked.

6. Which period of art do you find most interesting and why?

I’m the eternal student, and it’s a great bonus for me that I can continue to learn as I work. I tend to think in terms of themes (the nude, the Baroque etc.) and we’re now editing a series called “Best of British” which explores everything from satire to seduction in British art. I find understanding contemporary art the hardest field for me, but am comforted by the fact that all art was contemporary, once, and that people have struggled for centuries with it. If pushed, I particularly enjoy seeing the links between art of the past and today; it’s how our series “Reflections: Then & Now” came about. We link works by Kerry James Marshall with Manet, and Cindy Sherman’s creations to Caravaggio. I enjoy referencing the past, alongside the art made today.

Find out more: londonartstudies.com

ionic cars makes over classic cars with high performance, zero-emissions electric power

LUX discovers how UK start-up ionic cars is replacing the original engines of classic cars with zero-emission electric power

According to government figures, cars currently account for just over 18% of UK emissions. Aiming towards the goal of cutting emissions to net zero by 2050, there have been dramatic shifts towards the production of electric cars with Mini, the Vauxhall Corsa and the Fiat 500 most recently launching electric models. For classic car lovers, however, eco-friendly options are hard to come by, which is where ionic cars comes in.

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The bodywork is refurbished and interiors are fully customisable

The UK-based start-up transforms vintage cars by removing the original high emissions ‘old-tech’ engines and replacing them with zero-emission power. The bodywork is fully refurbished and interiors are customisable with everything from vegan leather to heated seats and matching luggage. For those worrying about the car’s collectible value, the process is fully reversible, or the original engine can be refashioned into a bespoke perspex case coffee table. ionic’s models currently include the Mercedes-Benz Pagoda and Porsche 911 with plans to expand in the future.

For more information visit: ioniccars.com

Elsa at Monte-Carlo Beach hotel is the first 100% organic Michelin-starred restaurant, as certified by Ecocert

Ahead of the re-opening of Monte-Carlo Beach hotel’s Michelin-starred restaurant Elsa, we speak to newly appointed Head Chef Benoît Witz about his commitment to seasonal, organic produce, sustainable kitchen practices and authentic Mediterranean cuisine

Chef Benoit Witz

1. What can we expect from Elsa when it opens this summer?

Our focus is on local products and seasonal cuisine. We are keeping the products as simple as possible to highlight their true flavours.

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2. How do you define modern Mediterranean cuisine?

I always look for simplicity. Mediterranean cuisine, to me, is a dish that shows off the natural taste of a recognisable product. We often forgot about what’s essential. My goal is to highlight our local products, and I always choose organic ones. It is necessary to show all the beautiful products we have around us thanks to Mother Nature.

3. Do you pay attention to cooking or eating trends?

I follow clients’ wishes more than trends. I am inspired by the products I can find in the markets, or in the restaurant’s fruit and vegetable garden. My cuisine’s personality is about elegance and health. I want to follow what our body needs.

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4. What’s your process for creating a new recipe?

I am inspired by old cooking books. I love trying new recipes and using products that have been forgotten and mixing them with new ones. It’s something unusual for food lovers. Most of the time, it’s a success and clients love that.

Headed up by Benoît Witz, Elsa offers a menu of authentic and seasonal Mediterranean cuisine

5. How are you incorporating sustainability into Elsa’s kitchen?

There are a number different ways. First of all, our teams are trained to pay close attention to sustainability. We have constant discussions about how we can do more as it is very important to the wider company Monte-Carlo Societe des Bains de Mer and our property the Monte-Carlo Beach hotel. For example, we group the orders together in order to avoid waste, we ask all our providers to avoid plastic and all of the kitchen waste is sorted and organised. We also only buy local and organic produce.

6. What’s your favourite dish to cook at home?

I love cooking fruit and vegetables, together or separately. I often mix them with cereals such as lentils or chick peas. Since I discovered chick pea flour, I enjoy making pancakes with vegetables. I often use artichoke or salade shavings and then add pepper, salt and herbs. I simply sauté the vegetables, which is how I prefer to cook them. It’s a very easy, filling and tasty meal to make at home. You should try it!

Find out more: montecarlosbm.com/en/restaurant-monaco/elsa

The Lygon Arms in the Cotswolds dates back to 14th century

A couple of unspoilt Cotswolds rural idylls from the 14th and 17th centuries, a rare luxury hotel in Champagne with a touch of the contemporary, and the best place to stay in medieval Heidelberg, LUX recommends four historic country hotels to visit post-lockdown

The Lygon Arms, Cotswolds

THE LOCATION

Broadway is a Cotswold village straight out of central casting. This includes the tourists wandering down the exquisite High Street lined with low buildings of local stone, with the Cotswold Hills rising beyond. The colour palette of nature and history is a perfect sand yellow/deep English green.

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THE ARRIVAL

The Lygon Arms looks like a combination of coaching inn and hotel. You expect a ruddy-faced local, fresh out of the local country estate, to appear and help you with your bags, and that is exactly what we got. Parts of the structure of the hotel date back to the 14th century, and the feeling of a cosy history, lovingly recreated by its current owners, is all around you.

The Lygon Bar and Grill

THE STAY

Our room, the Charles I suite with a four-poster bed, was swathed in Tudor dark wood. We ate dinner in the courtyard at the Lygon Bar and Grill: the grilled chicken with chestnut mushrooms and tarragon was highly satisfying. The achievement of The Lygon Arms? To offer true history, nicely updated with casual contemporary service and simple high-quality food.

ANYTHING ELSE?

A 20-minute walk from the end of the High Street and up a hillside takes you to the Broadway Tower, from where you can view the invading Welsh armies swarming across the Severn River Valley. Behind the tower stretch the sweeping green uplands of the Cotswolds proper, with exquisite nature walks.

Book your stay: lygonarmshotel.co.uk

Le25bis is the first of its kind in Épernay

Le 25bis by Leclerc Briant, Champagne

THE LOCATION

It’s long been a matter of bemusement that you can spend your day being serenaded by a major champagne house in Épernay and then find yourself in a disappointing, generic hotel. Le 25bis, owned by a champagne house and refurbished in a luxurious modern style, promises to change that.

Read more: Driving from Alsace-Lorraine to Lake Constance

THE ARRIVAL

There is nothing quite like driving along the avenue de Champagne which radiates from the town centre. Le 25bis is fronted by a delightful courtyard with a few tables and as you walk to the reception desk, you walk past a couple enjoying a champagne tasting, a perfect scene setter.

THE STAY

Le 25bis belongs to a well regarded boutique champagne house, Leclerc-Briant, which has a shop at the front of the house. After a long day of visiting champagne houses, there’s nothing quite like tasting the champagne made by your hotel. There are only five rooms, which are huge and have clearly been refurbished with little regard for budget, with pale contemporary furnishings with antique twists, aesthetic floral arrangements, intricate wallpapers and beautiful vintage-style (but very modern) bathrooms.

ANYTHING ELSE?

Make time to visit the Leclerc Briant house itself, and when buying from the shop at the hotel (our preferred cuvée was the eponymous entry-level cuvée, and the rosé was also delicious) make sure you buy in magnum. It is always better.

Book your stay: le25bis.com

Lords of the Manor is located in Upper Slaughter, a pretty hamlet in the Cotswolds

Lords of the Manor, Cotswolds

THE LOCATION

If The Lygon Arms is in the low Cotswolds, Lords of the Manor is in the high Cotswolds. To get there, you wind slowly through Lower Slaughter (probably Britain’s prettiest village, and that’s saying something), past an estate and into the hamlet of Upper Slaughter. Down a drive, there is a manor house with gardens dropping to a lake, and meadows and woods beyond. This view hasn’t changed much since Shakespeare’s time.

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THE ARRIVAL

Walking into the wood-lined great hall feels like arriving at a friend’s country house. You are taken to your room up a suitably creaking staircase. Ours looked out over the drive, lawn and lake, and was decorated in lavish country house style. All around was silence.

The bar at Lords of the Manor

THE STAY

Crunching through the grounds you feel like there is nothing more you would need from your English country estate. A walk across a little wooden bridge leads to a path alongside a stream taking you to Lower Slaughter, where you can slake the thirst in an inn. The dining experience at Lords of the Manor is very proper and British: venison and foie gras pithivier with creamed butternut squash and brandy sauce.

ANYTHING ELSE?

You could explore the many sites of this glorious region, but we wager you’ll stroll from the hotel on the secluded walks, and chill out on the hotel’s terrace with a glass of champagne, looking at the grounds, and do nothing else.

Book your stay: lordsofthemanor.com

Grand Hotel Europäischer Hof is Heidelberg’s only five-star hotel

Grand Hotel Europäischer Hof, Heidelberg

THE LOCATION

Heidelberg, one of the world’s oldest university towns, lies at the edge of the Rhine river plain at the point at which it rises up sharply into the mountains of the northern Black Forest. It’s one of Europe’s prettiest towns, and also infused with a feeling of intellectual history – and current intellectual power.

Read more: How Hublot’s collaborations are changing the face of luxury

THE ARRIVAL

The hotel, the city’s only five-star property, is located on the edge of the old town, making it easy to get to when arriving by car or train. The family-owned luxury property is big and relatively modern. You turn into a grand driveway and are greeted by a uniformed doorman, and taken up some steps into the reception hall that leads to a jazz bar on the left and around the corner into a U-shape into a formal restaurant, the Kurfürstenstube.

THE STAY

The hotel is grand and generously proportioned, as was our Executive Suite, which was light and airy with high ceilings, baroque-style furnishing in creams and beiges and rustic golds. While parts of the hotel are old, much of it has been built recently, including the large spa area. You will inevitably use the hotel as a base for visiting Heidelberg and beyond.

ANYTHING ELSE?

The hotel’s delightful concierge’s recommendations are now ours: the Kulturbrauerei, a centuries-old dining hallcum-beer hall with hearty, meaty cuisine and its own beer; and a walk down from the Königstuhl mountain, reached by a funicular.

Book your stay: europaeischerhof.com

Note: All reviews were carried out prior to the global lockdown

This article was originally published in the Summer 2020 Issue.