Installation view of Betye Saar: Call and Response, at the Los Angeles County Museum of Art © Betye Saar, photo © Museum Associates/ LACMA

Following a major exhibition at MoMA at the end of last year, Betye Saar’s latest solo show Call and Response at the Los Angeles County Museum of Art is the first ever to focus on the artist’s sketchbooks. Spanning the entire length of the artist’s career, the show examines the relationship betwecen her sketches and finished works by showing 18 sculptures and collages alongside annotated drawings.

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Sketchbook (1998) by Betye Saar. Collection of Betye Saar, courtesy of the artist and Roberts Projects, Los Angeles, © Betye Saar, photo © Museum Associates/ LACMA

I’ll Bend But I Will Not Break (1998) by Betye Saar. Los Angeles County Museum of Art, Gift of Lynda and Stewart Resnick through the 2018 Collectors Committee, © Betye Saar

Saar’s practice is primarily one of assemblage in which she builds sculptures from household objects to examine issues of race, gender, and spirituality.  I’ll Bend But I Will Not Break (1998), for example, is created from a vintage ironing board that the artist found in a flea market. In the finished work, a flatiron is chained to the leg of the ironing board, which has two images printed onto its surface: one is a 18th century British diagram of the packed hold of a slave ship in the Middle Passage between Africa and the Caribbean, and the other is a photograph of a black woman bent over her ironing.

Behind this assemblage, hangs a crisp white sheet clipped to a clothesline as if straight off the ironing board; in barely visible thread, the sheet bears an embroidered monogram: KKK. Viewed alongside the sketchbooks and accompanying annotations, this complex artwork is metaphorically disassembled, allowing the viewer to both recognise and appreciate the unification of the parts.

A Loss of Innocence (1998) courtesy of the artist and Roberts Projects, Los Angeles, © Betye Saar, Photo courtesy Scottsdale Museum of Contemporary Art, Scottsdale, AZ, by Tim Lanterman

Whilst the exhibition is on a smaller scale than some of the artist’s recent museum shows (the work fills only one room), Call and Response offers a rare insight into Saar’s creative process.

‘Betye Saar: Call and Response’ runs 5 April 2020 until at LACMA’s Resnick Pavilion. For more information visit: lacma.org/art/exhibition/betye-saar-call-and-response

The White Millefeuille is chef Anne-Sophie Pic’s ‘masterdish’ at her restaurant inside the Four Seasons Ten Trinity Square London

Anne-Sophie Pic’s London restaurant La Dame de Pic has already been awarded two Michelin stars for its innovative French cuisine, but there’s one dish that everyone’s talking about – and Instagramming. LUX visits Four Seasons Ten Trinity Square to try the infamous White Millefeuille

Chef Anne-Sophie Pic

Millefeuille is one of the most classic French desserts – even if you don’t recognise the name, you’ve probably eaten, or at least seen it in the window window of a smart pastry shop. Traditionally, a millefeuille is made up of three layers of puff pastry divided by layers of crème pâtissière. French chef Anne-Sophie Pic‘s millefeuille, however, is something quite different.

The dessert arrives on our table in the shape of a perfectly seamless white cube. If you’re active on Instagram, you’ve most likely seen hundreds of pictures, but for those of you who haven’t: it looks a little bit like a giant marshmallow surrounded by foamy white puffs (see above).

We’re anxious as to how to actually eat it. Which side are you supposed to start with? Will it collapse? Will something jump out?

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Fork in and it holds its cubic form perfectly to reveal layers of thin pastry interspersed with Jasmine jelly and vanilla cream. More importantly though, it’s completely delicious: light and sweet with an unexpected hint of spice from Madagascar pepper.

‘The desire of this dessert was to make a monochrome dish, which is as elegant in its visual approach as it is in its taste,’ Anne-Sophie Pic says. ‘And for me, elegance, then and now, is white. ‘

La Dame de Pic is Anne-Sophie Pic’s two Michelin-starred restaurant at Four Seasons Ten Trinity Square

Read more: Why Hôtel de l’Etrier is the perfect alpine hotel

It’s an elegance that resonates throughout the restaurant from its glassy, bright interiors and crisp table settings to the service and inventive presentation of each dish. The bread, for example, comes as a complete miniature round loaf, served on a bed of smooth white pebbles, which we mistake for dough balls and almost eat.

‘The White Millefeuille lends itself to playfulness: deriving from its perfect shape a signature dessert for each of my restaurants is a game, both for me in creation, and for the customer taking a tour of the Dame de Pic,’ says Pic, whose culinary creations have recently earned the restaurant its second Michelin star and Pic’s seventh.

If you haven’t made it to the restaurant yet, now is the time to go.

For more information visit: fourseasons.com/tentrinity/dining/restaurants/la-dame-de-pic-london/

Family-owned Italian brand Smeg transforms kitchen appliances into objets d’ art

Originally established as an enamelling plant in 1948 by the Bertazzoni family, Smeg is now globally renowned for making stylish kitchen appliances. Here, the brand’s third generation family member and CEO Vittorio Bertazzoni speaks to LUX’s Editor-in-Chief Darius Sanai about consumer trends, collaborating with Dolce & Gabbana and creating sustainable products

Vittorio Bertazzoni

LUX: Do you think product design has become more important for consumers in recent years?
Vittorio Bertazzoni: I would say yes if we are talking specifically about kitchen appliances, which is mainly what we do at Smeg. I think there are a number of reasons for that, maybe one of the main reasons is that nowadays the domestic space itself is becoming more and more visible and central in the house. Once the kitchen was hidden, but today it is more and more visible. People like to gather in the kitchen with friends and family, so of course they want to have more beautiful kitchens. The other reason is that you have more and more appliances in the house generally. Nowadays, people like to buy steam ovens, dishwashers and lots of other appliances so it makes sense for everything to be more consistent in terms of style.

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LUX: Do you think it’s a global trend?
Vittorio Bertazzoni: Definitely, maybe it wasn’t the case a few years ago but it has become a global trend because of higher attention towards food and health and the rise of like TV programs such as [The Great British] Bake Off and MasterChef. There is a global trend that starts with food then eventually how you cook the food and how you preserve the food and I think this is a very positive trend, not only from our business point of view which of course is positive, but also it allows for more products and technological advancements as people are more conscious about what they eat, how they preserve food and cutting back on waste.

A mixer from the Dolce & Gabbana x Smeg collection

LUX: Can you tell us about your collaborations with fashion houses?
Vittorio Bertazzoni: So the collaboration started with Dolce & Gabbana four years ago, but we started to think about the collaboration with Domenico Dolce ten years ago. So it is not something we did over night. As Italian companies, we share values and Italy, from my point of view, is quite well regarded when it comes to food, lifestyle, fashion and design so it is already linked together and the combination of fashion and design feels very natural.  The aim of collaborating was to create something new and I think the result was pretty remarkable in that sense that the produce is unique and special. It wasn’t easy to translate the pattern, especially onto the smaller domestic appliances because the patterns are really, really precise and handmade. It took us 3 or 4 years to get the right technology. If you think about a kettle or toaster and working with the curves of those appliances as well as the liquid – the pattern has to be resistant to that kind of temperature. I have to say we are very pleased with the result. I think it is a good example of how sometimes design is not only design, but also technology. We will hopefully continue to work on new ideas together.

LUX: What are the challenges of being a family business?
Vittorio Bertazzoni: The obvious challenge for a family are the roles each person plays. You have to be very clear that one member of the family is a shareholder and another is a manager of the company. In Italy we struggle because in a typical family business you have family and shareholders and then you think that since you are a shareholder you have no option, but to be involved in the everyday business which is not the case. If we look at the US or even in the UK, the two roles are very different. You can, of course, be a shareholder and even work in the company, if you have certain attitudes and if you are engaged. Otherwise, you shouldn’t, as being a shareholder is also a job. It is not as if you just sit and wait for the dividends. Most of the time, family businesses are medium sized so the distinction of being a shareholder and being a CEO or whatever is still not very clear, so there is a challenge for the management of the company to understand this and be prepared for this. I see that there has been a big revolution recently in the stock market, more family businesses are going public and this helps a lot, as when you are not a close company you have to apply to certain rules and you have other stakeholders.

LUX: How has the nature of your business changed over the past few years with regards to digitisation and social media?
Vittorio Bertazzoni: The appliances industry has been regarded for many, many years as quite a conservative business. A fridge is a fridge, an oven is an oven. More recently, due to social media and the attitude of the consumer, the lifecycle of the product in terms of how long a product can last and the consumer demand to get the newest design and the newest collection has changed. Ten years ago, people didn’t have the desire to have so many changes in a product’s design. For example, Smeg is known for the retro style of refrigeration, maybe until a few years ago the cream, the black and the red were high selling products, but now, we see huge differences in colour preferences.

Read more: The must-visit destinations of 2020 by Geoffrey Kent

LUX: In terms of challenges in the future, do you think that this kind of universal visibility will become a challenge for you?
Vittorio Bertazzoni: I think Smeg has a unique place in the appliances market. We are very much about design, colour and putting together architects and designers to create distinctive appliances. So in this world of social media, where everybody is aware of what is available, I think we are in a good position. That doesn’t mean, of course, that is is easy and I think this really goes to the nature of being an Italian company, of our products being made in Italy. If you think about something made in Italy, you think of something distinctive and unique, not standard or a commodity product. I think that the consumer wants to be surprised by a product which is made in Italy – that is the very essence of the word. You think about Ferarri and Ducati, Armani, Dolce & Gabbana and Prada. The challenge we have is to not create different products for the sake of being different, but because they are truly different and they can add value to your flat, your house, your home.

The ‘Made in Italy’ concept is at the heart of Smeg’s design ethos

LUX: It sounds like the ‘Made in Italy’ ethos is very important for you?
Vittorio Bertazzoni: No doubt it is. Made in Italy is a concept that goes back centuries to the Renaissance when Italy started to nourish the beauty of the buildings and the architecture within towns, the paintings and sculptures. In Italy we are surrounded by the beauty of the country and the beauty of art everywhere. The Made in Italy concept is in the DNA of Italian people. For us, as a design led company it is very important for us to have our production in Italy which obviously doesn’t mean we are not open to the world – we are a global brand with 85% of our products sold outside of Italy – but we can see that people really like the Made in Italy concept and the care of our design. From this point of view, you could say that Italy itself is a global brand.

Read more: Artist Henrik Uladlen on the concept behind his latest exhibition

LUX: Can you tell us more about how you work with architects and what is your criteria for choosing partners?
Vittorio Bertazzoni: So first of all, from my personal point of view, I believe that architecture is the ultimate form of art. This I learnt from Michaelangelo as he used to say, painting is a very fine art but in the end it is not so difficult and not so important… sculpture, is a more evolved form of art it is three dimensional, but still architecture is the ultimate form of art. This is not my original thought, this was Michaelangelo’s thinking. Architecture is always going to influence a lot of people; if you have a nice building you have a huge impact on people and in the end, humanity. If you have a bad painting you can remove it, but if you have a bad form of architecture you are going to have a bad influence for a long time because you don’t have the opportunity to cancel the building and do a new one. By saying that I am explaining why we love to work with architects because generally speaking they have a vision for the future which is quite unique and when they design an oven, hob or a refrigerator they go about designing it as they would design a building or something that should last a long time. In fact the product we designed with the architect Renzo Piano, which was designed in the mid nineties, is still one of the best sellers because these products don’t age, they are beautiful and unique. I understand it’s hard for people to compare an oven or a refrigerator with buildings like the Guggenheim or the Shard but if you study it, the approach is the same. A beautiful product made by an architect can last a long time.

LUX: Smeg has long had impressive environmental credentials, whilst it seems that other companies are only catching up now. How have you seen attitudes towards sustainability change in the industry?
Vittorio Bertazzoni: That is right, it is part of our commitment as a family, I have learnt it from my father and he learnt it from his father. Obviously, this is something that happens everyday, it is not something that happens just one day, you have to work on it daily and sometimes you make a little step ahead, sometimes you can make a huge step with a very good innovation and ideas. But most of the time it is really having the idea and being consistent in everything you do. There is no doubt that the industry, in general, has improved a lot in the past 10-15 years. When I began in the company, I remember a dishwasher used 50 litres of water which has gone down to around 6.5 litres, I mean the saving is amazing on a global scale. Instead of hand washing your dishes, if you now own a dishwasher you use 1/10 th of the water used and ⅓ of the energy used than if you washed by hand. The new technology in refrigeration now allows a saving of around 700-750 euros per year of food waste because food can be preserved much longer. All this is really interesting and I see these concerns becoming more and more relevant. As as a company have introduced a new blast chiller, which is a very powerful refrigeration unit that can blast -30 degrees to the core of the product, which will allow you to save all the food that you have cooked and preserve it for longer. This is different from the concept of a standard freezer which goes down to -18 degree, but also our unit takes all the food down to that temperature very safely with no bacteria. I believe it is a revolutionary product and I am very happy that after a few years we are now out in the market.

LUX: Do you fear imitators?
Vittorio Bertazzoni: Well obviously, competition is always there and we have to accept that it is good for the customers on some level, but of course imitating is stealing ideas so we have to protect ourselves. Still, I believe by being innovative and forward thinking in terms of design and technology, we shouldn’t have to fear too much. It is a challenge, but I think it’s possible.

Find out more: smeguk.com

The new building at Gütsch-Express mountain station in Andermatt, designed by London architect Christina Seilern. Image by Roland Halbe.

Last weekend saw the opening of two new restaurant concepts at the Gütsch-Express mountain station in the Swiss ski resort of Andermatt. LUX discovers

Perched at the 2,300 metre-high Gütsch-Express mountain station in Andermatt is a sleek building home to two new fine dining concepts: The Japanese by the Chedi Andermatt and Gütsch by Markus Neff. Designed by London architect Christina Seilern, the building provides two distinct spaces for each restaurant, with panoramic views through floor to ceiling windows and spacious terraces for alfresco dining.

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The Japanese by the Chedi Andermatt is the more intimate of the two, only seating 44 people inside with additional seating outside. The menu features the likes of shidashi bentō, omakase and kaiseke meals, as well as sushi and tempura specialities.

Here: The Japanese by The Chedi Andermatt. Below: A selection of the dishes on the menu. Image by Roland Halbe

Read more: An evening of contemporary art and fine dining with Gaggenau

Meanwhile, Gütsch by Markus Neff offers a more traditional alpine ambience with a large, bright dining space, two terraces and a menu focusing on fresh, local produce. Reservations are a must for both.

Gütsch by Markus Neff focuses on fresh, local produce

For more information visit: andermatt-swissalps.ch

Hôtel de l’Etrier is located in the sunny Alpine resort of Crans-Montana

Why should I go now?

While many Swiss resorts suffer from “deep valley” syndrome in midwinter, with the sun hidden by peaks for most of the day, Crans-Montana is both snowy (it sits at 1450m and its top station is at 3000m) and sunny, as it’s on a south-facing shelf high above the deep Rhône valley. Hôtel de l’Etrier is a Crans-Montana institution: take one of its recently refurbished, Alpine-contemporary pine clad, coolly lit south-facing rooms with a big balcony, and you have one of the best views of any Alpine hotel, and one of the sunniest locations.

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What’s the lowdown?

L’Etrier is a three minute walk from the main Crans lift station (you can leave your skis at the lift station rental store, which incidentally does an excellent line in Swiss Stoeckli skis, among our favourites). Step into the hotel and you have a picture-window view from the bar across the Valais Alps; there are few better places to relax with a long cocktail after (or maybe before) a day on the excellent Crans slopes.

The hotel has a spa and indoor pool, which connects to an outside swimming pool in summer

You also have access to two of this foodie village’s most well-known restaurants without even stepping outside, as a passageway leads to the Michelin-starred Pas de l’Ours restaurant and its more casual counterpart, the Bistrot de l’Ours, serving signature dishes such as candied pig shank with curry, beer cabbage, juniper and apple vitelotte.

The bar offers a cosy atmosphere for casual dining, whilst le Fer à Cheval restaurant (below) serves traditional Swiss alpine cuisine

The bar in the hotel itself is supremely relaxed and serves casual food, and this was our favourite hangout of all, in a deep armchair by a picture window looking out at the dramatic view. Many Alpine hotels nestle deep in valleys and views are limited; not so here. There is also an indoor pool (connecting outside in summer) and spa/wet area.

Getting horizontal

Our “superior” room was just that. It wasn’t the last word in high luxury, and l’Etrier is not priced as such, being a four-star hotel. But we preferred it to rooms we have had in some of Europe’s (and Switzerland’s) grandest institutions. The light pine and modern lighting decor were just right; the furnishings were light and contemporary without being irritatingly over-designed and the emphasis was on comfort.

Read more: Andermatt’s new high-altitude restaurants

One of the hotel’s spacious suites

The balcony had such magnificent views across the resort, below, the woods around it and across the Rhône valley to the giant peaks of the Pennine Alps surrounding the distant resorts of Zermatt and Zinal, that we spent an evening sitting and admiring the rose-coloured sunset, despite the increasing Alpine winter cold. Some rooms are just right in terms of general vibe: this was a room you didn’t want to leave, in the evenings, as the canopy of stars emerged above the mountains and valley.

Flipside

Crans-Montana is quite a spread-out resort and none of its top hotels can claim to be quite in the centre of things; L’Etrier is no different, and while it’s very near the main lift, it’s an eight minute walk (or two minute shuttle) to the centre of Crans, one of the two villages.

Rates: From 200 CHF  (approx. £150 /€200/ $200)

Book your stay: hoteletrier.ch

Darius Sanai

Argentina is one of Geoffrey Kent’s must-visit destinations for 2020. Image by Jonatan Lewczuk

LUX columnist and Abercrombie & Kent founder Geoffrey Kent reveals his hottest destinations for the new year plus top tips of what to see and do

Egypt

Egypt has an enduring appeal with its mesmeric relics, atmospheric souks, and natural wonders. After the tumult of recent years, the Land of the Pharaohs is making a deserved comeback. In 2018, more than 11 million tourists visited Egypt, and the World Tourism Organisation has since named the country the world’s fastest-growing travel destination. In the latter half of 2020, the Grand Egyptian Museum is finally set to open. Encompassing 500,000 square metres, this vast exhibition space will showcase an omnium-gatherum of Ancient Egyptian finds – 30,000 of which have never been exhibited in public before.

My top tip: Egypt is a place where it’s imperative to have an experienced local guide so that you can truly appreciate this ancient civilisation’s history and culture.

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‘Egypt has an enduring appeal with its mesmeric relics, atmospheric souks, and natural wonders’

Sri Lanka

The ‘teardrop of India’ brims with lush landscapes, ancient treasures, and rich cultural heritage. Successive waves of Indian, Arab and European traders flocked to Sri Lanka’s palm-fringed shores, attracted by rare spices, precious stones, and magnificent elephants. Today ancient cities, tea plantations, and hill stations vie travellers’ attentions, alongside eight UNESCO World Heritage sites, great beaches and national parks with an abundance of wildlife. On a Sri Lanka holiday, a large dose of tropical warmth awaits, in both the weather and the welcome.

My top tip: Sri Lanka is home to the biggest leopards that I have seen anywhere – be sure to spend time in Yala National Park, where dozens of these magnificent cats live.

Geoffrey Kent recommends visiting Sri Lanka’s Yala National Park to see leopards

Argentina

There are few places in the world where you can feel the same sense of vastness and isolation that you can find in Argentina’s breathtakingly rugged landscapes. Voyage to Argentina in 2020 to experience one of nature’s most magnificent events: a total solar eclipse. Set to take place on 14 December, this aligning of celestial bodies will be visible from just a few South American countries. In Argentina, the event will briefly plunge northern Patagonia into darkness in the middle of the afternoon. Be among the few to witness this rare, magical moment in a region already famed for its spectacular scenery.

My top tip: If you go this year, you can become one of the first guests to stay at the explora Patagonia Argentina, the latest in the hotel group’s roster of exemplary eco-lodges.

Read more: An evening of contemporary art and fine dining with Gaggenau

Nahuel Huapi, a large glacial lake surrounded by the Andes Mountains in Argentina

Laos

Until recently, Laos was in the shadow of its more famous Indochinese neighbours. It has often been overlooked by travellers considering a visit to South-East Asia. This country’s charm and authenticity are drawing a growing number of visitors to its lesser-travelled trails, however, and we expect the trend to continue in 2020. Step back in time as you explore this nation of jungles, temples, hill-top villages, and ancient relics for yourself, free of the frantic pace of so many other Asian cities.

My top tip: Go in the forthcoming year to discover the Plain of Jars for yourself. Stretching across the Xiangkhoang Plateau, this vast archaeological site features thousands of enormous stone vessels, scattered by a past civilisation whose culture remains a mystery. While folklore suggests the jars belonged to giants, further excavations in 2019 point instead towards a more anthropological answer: that this was once a burial ground. Visit this hard-to-reach UNESCO World Heritage Site by flying in via helicopter, accompanied by an expert guide.

Geoffrey Kent predicts Laos will grow in popularity as a travel destination in 2020

Ethiopia

Ethiopia is one of Africa’s most enthralling – and often overlooked – destinations. Following on from an incredible trip there in late 2019 – one of my Inspiring Expeditions – it easily earns its spot on my list for this year. I can recommend thoroughly. Situated in the Horn of Africa, it’s a land of dramatic contrasts – stunning lakes and mountain ranges as well as the Blue Nile. It is home to strikingly diverse and beautiful people such as the Kara, the Hamar, Mursi, and Nyangatom to name but a few – proudly independent, who have never been subjugated in modern times. The rock-hewn churches of Lalibela offer historical intrigue, while the other-worldly Danakil Depression and wildlife of the Simien and Bale Mountains are a major draw for nature lovers. Whether in the bustling cities or remote highlights, you’ll find an abundance of history, tradition, and goodwill.

My top tip: Visit during the annual Irreecha thanksgiving festival of the Oromo people in Addis Ababa. Witness freshly cut grass and flowers being placed in water – a traditional offering that thanks God for the end of the rainy season and the start of spring. It’s a fantastic opportunity for immersion in this aspect of the country’s culture.

Ethiopia is one of Africa’s most enthralling – and often overlooked – destinations, says Geoffrey Kent

The Arctic

Celebrate the audacity of exploration on an extraordinary cruise through the rarely traversed Northwest Passage. In 2020, A&K’s Ultimate Iceland & Greenland luxury expedition cruise will be led by a modern explorer, famed mountaineer Alex Pancoe, who just completed the Explorers Grand Slam, an adventurers’ challenge consisting of climbing the seven summits—the highest mountains on each continent—as well as cross-country skiing the final degree to the North and South Poles. Accompanied by Pancoe, voyage from western Greenland to Nome Alaska. Following in the footsteps of Leif Erikson (Erik the Red), who founded the Viking colony in Greenland and ventured to Newfoundland a full 500 years before Columbus, and coming in the wake of more recent great explorers such as Roald Amundsen and Robert McClure.

My top tip: an exceptional expedition crew and luxurious ship make all the difference when travelling to the poles.

Geoffrey Kent cruising the Arctic Ocean

Find out more: abercrombiekent.co.uk

Ombra Di Pantera is a new producer of Prosseco, and businessman Utsava Kasera’s latest investment

Utsava Kasera is an entrepreneur and investor with interests in luxury brands, fashion, art and tech. Most recently, his attention has turned to new Prosecco brand Ombra Di Pantera. Here, he tells us about this latest investment, finding a gap in the market and his new year ambitions

Utsava Kasera

1. How did you first come across Ombra Di Pantera?

I always wanted to be involved in the drinks industry and the stars aligned when I met the other promoters of Ombra Di Pantera over a lunch through a common connection. The opportunity looked very good and we are on an exciting journey now.

Our inspiration for ‘Ombra’ is delivered from a unique heritage and a fabled history which stretches back to the Roman wines of antiquity. In ancient times, traders who served wine in Venice’s Piazza San Marco would follow the shadow of the Campanile to cool their wine as there was no refrigeration, and the Venetian expression, ‘Ombra de Vin’, meaning ‘Wine’s Shadow’, is still used to order Prosecco in its original heartland. Another interesting fact about Prosecco is that typically a glass contains fewer calories than wine and there is a town called Prosecco nearby Venice, where the name of this bubbly comes from.

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2. What drew you to invest in the business?

The huge demand for Prosecco in the UK and lack of branding around it gives an opportunity to fill a missing gap in the market. The sales of Prosecco have overtaken champagne in the UK, which is now the second biggest market in the world after the US. Besides that, it’s a delicious Prosecco which embodies the elegance of Italian luxury and I believe it has the potential to make its mark in the sparkling wine world.

3. What sets Ombra Di Pantera’s Prosecco apart from other brands?

Ombra is traditionally crafted from a single vintage, using superior Glera grapes from our delicately cultivated Conegliano vineyard, to deliver a pure expression of the very finest Prosecco. The Prosecco is created ‘in bianco’, meaning the fermentation is without the skins creating the delicate sparkle that is captured over 60 days to produce a fine, persistent perlage. The steep hills of the vineyard provide the perfect conditions to grow  Glera grapes, which require cultivating and harvesting by hand relying on traditional methods refined over a thousand years. Ombra Di Pantera is dedicated to celebrating the traditional heritage and craftsmanship of Italian viticulture to deliver an authentic, exclusive Prosecco experience and can stand up to any high quality champagne or sparkling wine in blind tasting.

Ombra Di Pantera’s Prosecco is made from Glera grapes grown on their vineyard in Conegliano

4. How does the company fit into your wider investment portfolio?

My investments are across a wide spectrum of industries from tech to hospitality. I particularly invest in industries and projects, which I am passionate about rather than just looking at the numbers. Having said that, Ombra compliments a couple of my investments, which are in private members club, one called 1880 in Singapore and a wine bar chain in London called Vagabond.

Read more: Knight Frank’s Andrew Hay on the best emerging markets for real estate investment

5. What are your ambitions for 2020?

I would like to focus on making Ombra di Pantera bigger by aligning with more luxury partners and concentrate on strategic growth of the brand. I am also a co-founder of ‘Sidehide’, which is a tech app for hotel booking, providing a seamless experience for users and I will be involved in the launch and marketing campaign during 2020. Lastly, I would like to do some volunteering work with one of the charities I am involved with, and learn to play the piano.

6. How do you switch off?

I have a passion for whiskies and cognac. Enjoying a dram of Springbank 21 years whisky or Louis XIII cognac in company of friends relaxes me. Recently, I have started taking out time to cook and I am enjoying it at lot. Travelling is another passion and therapy of its own kind for me.

For more information visit: ombradipantera.com

A sculpture by LouLou Siem installed in Gaggenau’s Mayfair showroom

Last Wednesday evening the doors of Gaggenau’s Mayfair showroom were locked for a private party hosted by LUX with an exclusive art installation by LouLou Siem. Here, we recall the event

If you happened to be wandering past Gaggenau‘s showroom last week, you might have raised an eyebrow as sculptures of human heads were passed through the door. These were the works  installed by LouLou Siem for a private evening event hosted by Gaggenau in collaboration LUX.

Here and above: sculptures by LouLou Siem installed inside the Gaggenau showroom

The artist’s heads and various other sculpted objects appeared looming on counter-tops and illuminated in ovens, lending a touch of macabre to the sleek kitchen interiors. The space provided a unique setting in which to not only view the art, but also appreciate the contrasting textures of the sculptures and Gaggenau’s appliances.

Follow LUX on Instagram: luxthemagazine

The evening began in proper with a champagne tasting led by LUX Editor-in-Chief Darius Sanai. A champagne collector and self-professed geek, Sanai introduced four champagnes showing the different styles of what he considers an under-appreciated wine. Guests started with a Louis Roederer Brut Nature 2009, a champagne with zero dosage (effectively, no sugar added) with a label designed in collaboration with Brut Nature fan Philippe Starck. Next was a Louis Roederer Blanc de Blancs 2010, made with 100% Chardonnay in a clear, bright style. Next, a Blanc de Noirs, a champagne made with 100% Pinot noir grapes, showing a richer, deeper style. And finally, Louis Roederer Vintage 2012, which was full-bodied, broad and complex.

Above: LouLou Siem with her artworks. Here: The artist in conversation with LUX Digital Editor Millie Walton

Then followed a live Q&A in which LouLou discussed her practice and installation concept with Digital and Arts Editor Millie Walton. After which, guests descended downstairs for dinner and to admire LouLou’s table installation of gold heads arranged on a bespoke table-cloth with small ghostly faces placed on each napkin.

Read more: Why Crans-Montana is the perfect early-season ski resort

The menu, devised by acclaimed chef Henrik Ritzen, followed a Swedish theme with a main course of fallow deer, caramelised celeriac puree, and lingonberries, followed by frozen vanilla parfait and warm almond cake served in soup made from dried rose hips.

Guests dined amidst the artworks with a menu by acclaimed chef Henrik Ritzen

For more information visit: gaggenau.com

Installation view of Lethe by Henrik Uldalen at JD Malat Gallery, Mayfair

Henrik Uldalen is a self-taught artist, who caught the attention of gallerist Jean-David Malat via his Instagram account. His impasto portraits depict the tumultuous variety of human emotion. Following the opening of his second solo show Lethe at JD Malat Gallery in Mayfair, we speak to the artist about inspiration, social media and the colour pink.

Artist Henrik Uldalen in his studio

1. Can you tell us about the concept for Lethe?

The show, in broad terms, is about history versus the collective memory, and how the zeitgeist of our time is polarising the society with the use of fear and glorified notions of the past.

2. What inspires you to start a new series or artwork?

Most of time I don’t need inspiration to start a new series. The need to create and express is always within, and if I don’t get it out of my system I know I won’t be a happy man. Over the years I’ve come to learn this about myself, and how to practically force myself out of the door in order to function as a person.

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3. Are the figures you paint imagined or drawn from personal memories?

The people you see are models that I approach, but all the figures are also me. Every piece I make is a self-portrait projected onto a stranger, expressing my inner most intimate feelings and moods.

Artwork by Henrik Uldalen

4. How do you think social media is impacting the way we view art?

Social media is a blessing and a curse. The way you’re able to reach out to people across the globe with the click of link is mind boggling. Especially growing up in a small town in Norway this impacted my career in a massive way. Unfortunately, I find social media too superficial and narrow to be able to convey any deeper meanings from the artist to the viewer. In the same way that you can’t fully appreciate a beautifully cooked dish described through even the most flowery language, you’re not able to feel a painting as you’re supposed to in a split second over a 13x7cm phone screen.

Artwork by Henrik Uldalen

5. The portraits in Lethe are set against a pink background. What significance does the colour have for you?

The colour pink in this exhibition represents the veil we cover our eyes with when we think back on our past. A comforting lie, telling us that everything will be fine as long as we return to our glory days.

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6. Which artists have most influenced your practice?

I usually look for inspiration in  fields of art other than my own. Movies, TV, books, plays and music are my main sources. I need to not understand the technical aspects of the artwork if I’m to appreciate the piece fully. If I see a painting I would immediately look for compositions, colour combinations and brush strokes, but in reality, I should just feel the piece of work.

‘Lethe’ by Henrik Uldalen runs until 11 January 2020 at JD Malat Gallery, 30 Davies St., Mayfair. For more information visit: jdmalat.com

The One&Only Kéa Island resort is situated on a 60-hectare beachfront site on the west side of the island

Due to open in 2021, One&Only Kéa Island is a luxury resort offering private residences on the little-known Cycladic island of Kéa. The development is being overseen by global real estate investor Dolphin Capital Partners in partnership with Kerzner International and will comprise 75 beachfront villas alongside the hillside homes. Here, we speak to DCP’s Founder and CEO Miltos Kambourides about the project and why Greece is set to be the next big destination for luxury residential developments

Miltos Kambourides

1. Can you talk us through your vision for the One&Only Kéa Island development?

Our vision for One&Only Kéa Island is simple and ambitious: create the ultimate luxury resort with private residences – not just on the Aegean shoreline, but for the entire Mediterranean. That is a bold statement, however, we are committed wholeheartedly to delivering this project and our vision for turning Kéa into a world-class destination, for the community of Kéa, the visitors it attracts, and the new residents of the resort.

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2. What are some of the challenges that you’ve faced with the project?

With any project there are always challenges, you’d be naive in thinking that wasn’t the case. Having been responsible for a number of leading hotel and residences around the world – such as Amanzoe [Greece], Amanera [Dominican Republic], Pearl Island [Panama], – we are used to the usual challenges that such ambitious projects face.

For a development of this scale, challenges such as building permissions have been a lengthy process. However, we are committed to getting this right, and considerable thought and detail has gone into every element of One&Only Kéa Island.

3. Do you gain inspiration for developments through your own travel experiences?

Greece is home, and while I always draw inspiration and ideas wherever I go, as they say: home is always where the heart is. Being able to work on another iconic Greek project means so much to me personally, and to Dolphin Capital as a leading Athens-based developer, and together we are looking forward to creating another world-class destination.

The resort will include 75 villas, as well as a limited number of One&Only Private Homes available for purchase.

4. What has it been like working on Kéa Island?

Despite its proximity to Athens, Kéa is still an undiscovered island. We enjoy the support and encouragement of the locals, Athenians and citizens of the world who call Kéa their summer home.

Kéa is an island full of picturesque villages with quintessential blue, white and terracotta coloured villas surrounded by olive grove filled landscapes and pristine turquoise beaches, it’s one of the most scenic islands in the Cyclades. So overall, not a bad place to work!

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Working closely with the community is critical for any project, no matter how big or small the development is. We are extremely committed to developing in unique locations and supporting our local economy, to create incredible destination retreats. One&Only Kéa Island will present a beneficial return to all: creating new jobs, sensitively developing the region and offering investment.

An example interior of one of the luxury villas

5. Where do you predict the next desirable location to be for luxury residence developments?

It is without a doubt definitely in Greece. Greece is thriving at the moment. Where exactly, I couldn’t tell, but I am looking forward to seeing what the future holds.

6. Where’s next on your travel wish-list?

I spend nearly half of my time travelling, which is exciting and means I get to see some incredible destinations. Due to the nature of my job, and my passion for exploring the world, I’ve been lucky enough to visit 137 countries. So with regards to my wish list, it has got to be somewhere I haven’t yet been. I am constantly in search of new places to travel to, over the next few months I’ve planned to go to Tunisia, New Zealand and Madagascar, and can’t wait to keep adding to this list.

For more information visit: oneandonlyresorts.com/kea-island; dolphincp.com