Philipp Plein at his Resort show during the Cannes Film Festival in 2018

Philipp Plein is the partying designer for the Monaco private-jet set, who has also retained his status among fashion’s elite. Harriet Quick meets a man with a keen business brain and the unashamedly alpha swagger of a self-made global entrepreneur

“I can remember going to Salone del Mobile for the launch of my furniture line. I rented a truck and drove to Milan with my former girlfriend. We set up the booth ourselves and we slept in a motel. It turned out the motel was also operating as a brothel. Each morning, we had to leave the room empty as it was booked for ‘use’,” says Philipp Plein. “We had dinner at the Autogrill on the highway every night. It was all we could afford.” Plein’s first foray in the business of design was more than 20 years ago and the memory has a fuzzy, sleazy halo.

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A model in Philipp Plein AW19

Today, the Philipp Plein empire encompasses menswear and womenswear collections, accessories, Philipp Plein Sport and 120 stores worldwide (some lease, others franchise), plus the menswear brand, Billionaire (a majority stake of which was purchased from Formula One managing director Flavio Briatore in 2016; it caters for gentlemen who prefer blazers to leather perfectos). It’s been reported that the group generates annual revenues of around €300 million.

As founder, CEO and creative director, Plein exudes the pride of a self-made man. The extrovert alpha male/female personality of his eponymous brand has earned legions of fans who are not in accord with the prissy propriety of high fashion. The stores (on the rue de Rivoli in Paris, London’s Bond Street, Passeig de Gràcia in Barcelona and Soho in New York City) gleam with steel and shiny leather, embellished with Swarovski crystals. Mannequins feature six packs that spell machismo, and everything is dosed in irony.

A model backstage at Plein’s AW19 show in New York.

“The experience of building a business from scratch makes you really appreciate things,” says Plein of his trajectory from nobody to head of a fashion empire with 1.7 million Instagram followers. “Nothing was a ‘given’ or ‘easy.’ What people forget when they see the stars of today are the years of dedication and sacrifice. People suffer to reach certain goals.” He doesn’t go into the sacrifices he made, yet it is blatantly clear that Plein, who has an art gallery of tattoos on his considerable biceps, is an ‘all over everything’ workaholic. “I don’t get dropped, I drop the best sh*t in the game – on to the next one,” reads an Instagram post on 3 May 2019, with an image of a female model wearing fantasia eye make- up and a knockout crystal embellished body suit. Ahead of the Met Gala Camp: Notes on Fashion extravaganza, it was decidedly timely.

Read more: Gaggenau’s latest initiative to support emerging artisans

The Munich-born entrepreneur (son of a heart surgeon) possesses a fiery cocktail of Italian flare and Teutonic discipline. He launched into the design business creating sleek stainless-steel beds for dogs and then furniture for humans (he still owns 50% of the small steel factory that made his range) and went on to launch a line of upmarket objets and trophy tables with leather inlays. Dog owners from Miami to Zurich fell in love with the designer pet accessories and via that venture, the young Plein received an on-the- job education in the tastes and materialistic whimsies of the super-wealthy.

The Philipp Plein AW19 catwalk show in Milan

Christian Combs and Breah Hicks at the opening of a new Philipp Plein store in NYC

Philipp Plein the label had planted its roots. Next came the Swarovski crystal-skull- embellished military jackets. They sold from rails at furniture trade shows. That led to an apparel collection featuring more leather, shredded jeans, diva dresses and mini skirts with the kind of proportions, detailing and quality (the collection is made in small Italian factories) that made them several cuts above the average rock ’n’ roll cliché. The collections’ fun- loving rebelliousness appealed to a generation of pop stars, moguls and party kids. Jasmine di Milo, Mohamed Al Fayed’s daughter, was one of Plein’s first customers and bought the line for her mini in-store boutique at Harrods.

“I started marketing the brand into Europe – Germany first and Italy, France and the UK followed,” says Plein. “In the mid oughts, we entered the Russian market and then China. It was a wholesale brand and we went to all the major trade shows.” On early trips to New York’s Coterie show, even his teenage sister came along for the work/vacay ride.

Socialites and celebrities gathered for the opening of the new Philipp Plein store in New York in 2018

The Plein lifestyle – fast cars, nightclubs, champagne, sex – proved a lure. While the level of flash made the arbiters of taste wince, no one could deny the coherence and the quality. This was the era of kick-ass disruption. Stella McCartney and Phoebe Philo were turning Chloé into a ‘girl power’ brand, Alexander McQueen was confounding the world with his fusion of romantic beauty with punkish violence while Nicolas Ghesquière at Balenciaga was reviving the moribund house with his electric hybrid mix of futurism, utility and armour.

Through these players, the luxury fashion world was reignited with guts and creative daring. The trajectory was bigger, higher (remember those teetering platform heels?) and in the case of Tom Ford’s Gucci, ever sexier renditions of slinky jersey dresses and low-cut blouses. Plein, who dubbed himself a heroic outsider, was astutely aiming in on the person who did not like concepts and intellectual leanings. In this decade, while fashion trends have leant away from flash and excess, Plein has kept to his groove and it’s paid off. A slew of openings (the majority are franchised stores) followed, aligned with blockbuster shows starting in 2010 and a bonanza of parties.

Do a Google Image search for Plein, and you will be blasted with a showcase of fantastical show sets and extravagance featuring hip-hop stars, racing drivers, sports champs and endless hot models – male and female – living it up to the extremes of camp and bling. The vision was epic and the investment huge. He hired British set designer Simon Costin (the mastermind behind Alexander McQueen’s early shows) and drafted in performers (yes, Snoop Dogg, Rita Ora, Chris Brown) to realise the brand fantasy. A fun park with a rollercoaster, the Harlem Globetrotters, a monster truck crashing into cars – it was all about ‘action’. The brand outbid itself season after season with show costs reaching into the millions.

Plein has homes around the world, including his Manhattan penthouse and La Jungle du Roi villa in Cannes

Plein was not an outlier – it was a period of extravagance. The fashion industry in the late oughts valued spectacle, which, via live streaming and nascent social media platforms, could be viewed across the globe. Tom Ford at Saint Laurent showed in giant black Perspex boxes in the gardens of the Musée Rodin; Louis Vuitton under Marc Jacobs created visions of Paris with moving lifts modelled on the Ritz hotel. Chanel spearheaded the interactive, hyper-reality set with a supermarket, a rocket launch pad and a casino at the Grand Palais. The ‘immersive’ experience was born and Plein wanted to spoil his guests with the outlandish best.

The Billionaire AW19 catwalk show in Milan

Sustainability issues, questions of timing and seasons have somewhat tempered the phenomena of the blockbuster show. Louis Vuitton presented its Cruise 2020 collection at the TWA terminal at JFK (now a design gem hotel) with a note that the plants used for the relatively simple décor would be redistributed or turned into compost. Excess and ‘waste’ is not in fashion. Powerhouses are acutely aware that we are seeking diverse indie and often ecologically minded activities, at least in the West.

Some brands are scaling down, while others are changing formats, taking the show on the road and off the traditional Paris, London, New York axis. The Philipp Plein show now is a relatively plain production that concentrates on the clothes. “We staged the last ‘big’ show in Brooklyn and invited 4,000 people,” says Plein. “From that moment on, I thought: ‘I don’t always want to give people what they expect.’ I want to focus on in-store events and see the investment showing up in sales,” he says. “We are a big player online, with €55million in sales, and this does not include channels such as Farfetch. But we believe in offline stores – you need to be successful in both. While more and more people might be consuming online, we still need to dream the dream, enter stores and touch the product. It’s an omni-channel solution.”

World champion boxer Vasyl Lomachenko is the face of Billionaire

While the old school and economy of fashion relied on editor diktats and designer worship, Plein sees the power pass to the consumers, who, via social media, exert influence and opine endlessly. “The consumer is much more powerful than the medium itself: choosing what information to consume, where to find the information and who to follow or unfollow. It’s much more democratic. In the past, we were able to ‘control’ the consumer, now the consumer ‘controls’ us,” concludes Plein.

Read more: At home with minimalist architect John Pawson

On Instagram, Plein is a dynamic, flashy act to follow, allowing access into his personal world. You’ll find him with his feet up in his marble and glass New York penthouse watching The Rolling Stones; in a helicopter with his five-year-old son flying across the Hudson River; or on-site overseeing the build of an Italianate mansion. One of his favourite photo- op situations is in the vicinity of premium cars. His brand recently collaborated with Mansory on a limited-edition series of ‘Star Trooper’ Mercedes G63 vehicles, for €500,000 each.

He looks fit (running six km a day), full of pluck and at the same time, with his cropped hair, stubble and brown eyes, approachable. He calls himself an “old-school guy” – he likes cars, women, the trappings that wealth can buy, sleek modernity and shiny surfaces. He does not smoke and rarely drinks. His vice is Red Bull. “I want to live a long time,” he adds. For all the wild projections, Plein is ultimately tidy. He has his son, who lives with his mother in Brazil. “He has a happy, normal life,” says Plein of his little boy. “Of course, he enters into my world and he is privileged in the sense that he can enjoy both points of view. As parents, we have a big obligation to our children – and how influential we are towards to them. They are born pure and what that child discovers and experiences, builds character and establishes a value system. It is a base that they will then develop themselves.”

As for kicking up his own feet, Plein – who is now in his forties – is dubious. He has weighed up the option of selling his business, but this would mean giving up a majority stake. “My father told me: ‘Money is an obligation. What would you do with this money? If you don’t know, then don’t sell.’ I think I have mastered my own industry – I don’t know anything else and I am not in need of money right now,” he concludes.

Where the brand ego stops and the real Philipp Plein actually starts is hard to gauge. You can’t imagine him seeking an alter-ego life with a rustic cabana and a plot of agave plants in Mexico. “It’s difficult for me,” he says. “I have grown into the brand and the brand became part of my own life and reflects pretty much my lifestyle. You don’t have too many designers who have a namesake brand anymore,” he says.

Plus, future ventures including scent (the men’s cologne, devised by famed ‘nose’ Alberto Morillas is launching this year) and cosmetics, depend on his presence. Earlier this year, he put in a bid in for the failing Roberto Cavalli brand, which subsequently filed for bankruptcy and now seems irretrievable, not a ‘renovation’ investment. “I look at fashion like a sport,” says Plein. “If you want to perform in any industry you have to be mentally fit and able to deliver results, and you are always under pressure,” he says. “Designers are drafted in like soccer players.” He admits that he does not have a lot to say on sustainability issues (gen up quick), but is happy that his manufacturing is Europe- based and small-factory led.

The exotic leathers might be on the way out and times might be turbulent, but Plein’s view on luxury remains constant. “We give people unnecessary things that no one needs, but everyone wants.”

View the designer’s collections: plein.com

This article was originally published in the Autumn 19 Issue.

A pregnant woman wishing her child to be beautiful must look at beautiful objects by artist LouLou Siem

Young British artist LouLou Siem’s latest solo exhibition entitled A pregnant woman wishing her child to be beautiful must look at beautiful objects at MAMCO Pavel Șușară in Bucharest centres around contagion, or more specifically the contamination and interplay of materials. Working chiefly in sculpture, Siem’s work delves into the realm of the macabre, presenting a perverse kind of beauty that’s born out of mutilation and sickness.

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The faces and objects Siem sculpts appear drowning in their materials, as if the work of the artist is less about giving shape to her own creativity and more about returning the material to its raw state. Throughout the exhibition there’s a palpable sense of struggle that’s simultaneously repulsive and compelling. It’s the struggle of the artist and her materials, but also of life and object. As the viewer confronts the rippling gold shapes seemingly erupting before the eyes, we are invited to more closely consider the value of artefacts and the processes of their making.

‘A pregnant woman wishing her child to be beautiful must look at beautiful objects’ runs until 3 November at Pawel Susara Museum of Contemporary Art, Bucharest, Romania. For more information visit: loulousiem.com

John Pawson is one of the UK’s most renowned architects, known for his signature white, pared-back aesthetic that celebrates space over clutter. His projects vary from high-end private homes to hotels, shops, restaurants, monasteries and London’s Design Museum. LUX Contributing Editor Maryam Eisler visits and photographs his recently completed home in Oxfordshire consisting of a farmhouse and barns to talk about light, lines, and imperfect perfection.

Maryam Eisler: Talk to me about light John.
John Pawson: Well, Louis Kahn said there’s no architecture without natural light. So if there are ten building blocks for architecture, whether it’s scale or proportion or materials, light has to take priority. Cause you’re fucked otherwise!

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Maryam Eisler: If I say monastic, you say …
John Pawson: We’ve been very lucky to have completed three monastic commissions (referring to the new Cistercian Abbey of Our Lady of Novy Dvur in Bohemia, interior renovation of the basilica of the Benedictine Archabbey of Pannonhalma in Hungary and work at the Cistercian Abbey of Sept-Fons in France). Religious buildings – and specifically monastic buildings – are very different. And the brief is different. But the fact that someone who’s done a Calvin Klein shop can also do a monastery isn’t a contradiction. We’re there to do buildings and we are not measured for our morals or religious beliefs. And the monks saw something in the domestic and retail architecture which attracted them; they thought I might be the right person to help them with their projects.

Maryam Eisler: So, if I say the Rothko Chapel in Houston or Tadao Ando’s Church of the Light near Osaka in Japan…
John Pawson: I could relate to these projects. A lot.

Maryam Eisler: Talk to me about clutter. Or the lack of it.
John Pawson: I’m not a great one for things, but you know you need tools to do stuff, as an architect, a gardener or a cook; it’s just about making sure that you don’t have more than you need.

Maryam Eisler: So you take quite a utilitarian approach to life?
John Pawson: I think that the architecture comes from the way I like to live and it always has done. It’s what I do, and the clients seem to like what I do.

Maryam Eisler: Is your mind as clean as the space and environment you function in?
John Pawson: No, quite the opposite. It’s crammed with stuff, and my brain is all over the place. That’s why I like things ordered. But you can never have exactly what you want. Especially if you live with people.

Read more: Island paradise at the Ritz-Carlton Abama resort, Tenerife

Maryam Eisler: What about order?
John Pawson: I see order as being a good thing. But it has pejorative tones for some people. They see regiment. They see military. They see oppression. I just think it helps.

Maryam Eisler: You appear to have a sense of inner peace and balance, reflective of your work. Am I reading it right?
John Pawson: I’ve been very lucky in my life, and things have gone for the most part smoothly. Work can be quite stressful as I try to produce really special things.

Maryam Eisler: Talk to me about lines.
John Pawson: Yes, Lines. Lots of them. Straight lines.

Maryam Eisler: Are they always straight?
John Pawson: Human beings and women in particular have curves. Buildings are, for the most part, rectilinear. Things are only curved when they need to be.

Maryam Eisler: Have you ever produced anything circular?
John Pawson: Very rarely. We once did a circular surround hedge to a tennis court for Karl Lagerfeld in Biarritz. And he went slightly mad because he said, ‘Don’t you know I don’t like curves’ and I didn’t ! – You know, one of the rules! The other one is ‘Don’t spill coffee on the plans’ which I did as well; that didn’t go down very well either [laughter]!

Maryam Eisler: Which brings me actually to the topic of ‘favourite’ project. Have you had one?
John Pawson: Yes! A monastic city. That was the most fulfilling project of all. And different. Also, I suppose on an egotistical level, not many architects get to do monasteries on this scale.

Maryam Eisler: What about this particular farm house, where we’re sitting now ?
John Pawson: Having worked on this project for five years, you forget how fresh it can be for other people. The level of detail which isn’t always apparent in the materials and the amount of work that has gone into it …. It must seem very calm, judging by peoples’ reactions. So, I don’t know whether this will become like the monastery or not. I just don’t know.

John Pawson conversing with Carrie Scott, an independent art historian and curator who is currently working with John on his photographic series

Maryam Eisler: The strength of your work, the clean lines in your designs, are reminiscent in my opinion of Judd’s work. Same strength. Same presence. Interesting that the first thing I saw when I came here are three Judd chairs, perfectly aligned in the kitchen. Has he been a source of inspiration?
John Pawson: Yes. From very early days – I think I first saw an exhibition of his in Japan when I lived in Tokyo in the early 70s. After that Hester [van Royen, mother of John’s children Caius and Phoebe] became his dealer in Europe, so I got to meet him. He was not too big on conversation!

And then there was a moment in Basel when Hester said, ‘Oh let’s go for lunch !’ Judd was hungry. So, the three of us went out and I thought ‘Oh great; I finally get to sit down with Donald Judd over lunch. Amazing!’ And just as we were going out of the hall, a client of mine caught me and I couldn’t help but to say ‘come along’. He talked non-stop. So, I never got to listen to Judd!

Maryam Eisler: Your aesthetic and emotional connection to Judd seems obvious.
John Pawson: Definitely. Extraordinary, in fact! It’s been a natural thing. He was one of the first artists I was exposed to. I was asked by Hester to give a talk in Oxford on Judd’s work. ‘Sure, cool’, I said and had the complete set of the most incredible slides relating to him – his work, Marfa, everything! It was a big hall and a lot of people. I got up very confident. I was, maybe 30 or 35, and of course my mind went completely blank! So, I put up that first slide and I just said ‘window’, because it was a window. And then the next one was ‘door’. And it went on and on.

Maryam Eisler: We’ve talked about light. What about shadow or darkness?
John Pawson: Everything is about the contrast. Without one, you don’t have the other. But it’s all in the subtlety – the colour changes so quickly, doesn’t it?

Read more: In conversation with painter Luc Tuymans

Maryam Eisler: I’m assuming you see a lot of colour even though, to an outside observer, your work may appear to be somewhat monochrome, neutral, in various shades of beige and grey.
John Pawson: There’s a huge amount of colour in my work and they’re all different! I also slightly underestimated the garden side of things here in the country. Because I thought I could just lay it all out simply and everything would be fine. And at this time of year (end of Spring), it’s so green and yellow … just incredible!

Maryam Eisler: It looks like a painting. Which brings me to the subject of art! You are an architect, a creative mind and a photographer. An artist in every sense of the word. I hope you agree ? Yet, I see no art (in its traditional sense) in the house. No painting on walls. No sculptures in rooms.
John Pawson: I’ve always been very very careful with that. I keep it clean and uncluttered. I know people consider architecture to be an art form. But, to me, architects are not artists. There is a very distinct line between art and architecture.

Maryam Eisler: What are the main lines of differentiation between art and architecture?
John Pawson: I think that architecture has a functional aspect to it. It has to be used. People need shelter. Whereas ‘art’ doesn’t have to fulfil any practical or functional qualities. However, it is important to say that we would not survive as a human race without art.

Maryam Eisler: And you, personally, can do both. You can be an architect and a photographer, simultaneously.
John Pawson: I’m definitely not an artist [laughter]. And I would be very careful about considering myself a photographer.

Read more: Dutch artist Viviane Sassen’s photographic series ‘Venus and Mercury’

Maryam Eisler: But the world will label you as that, especially as you are becoming more public with your photography! You look, think and see like a photographer!
John Pawson: Well then, I am happy to review the situation. It isn’t false modesty. It’s just that I’ve always enjoyed framing things and taking photographs, and until now, I’ve never sought to take it any further than the daily musings.

Here and above: Images from John Pawson’s photographic series Home, a portfolio of 8 images available in an edition of 10.

Maryam Eisler: These daily musings which I follow on your instagram have become in effect a journal or a diary of your life. One can feel your soul through your photographs. I would even go as far as saying that they are self- portraits of some sort. And even though we don’t see you, you’re there and we definitely feel you.
John Pawson: This is just the way I see life, and it’s been a very nice discipline for me. I’m always amazed at how people see things and how they each photograph the same subject so differently. I’m not saying that they’re worse or better, but they’re so different and yet they use the same machine and have two eyes! I’ve always taken photographs but I had never shown them publicly before Instagram.

Maryam Eisler: Now that you’ve come out of the closet with your photography, do you impose more rules onto yourself? Or do you keep the practice spontaneous in the way that you have always done before?
John Pawson: I’d say I am spontaneous because I never think too much before framing a shot. They’re for me, first and foremost. It’s a bit the same with architecture. I design things for me, or as I would like them to be.

Maryam Eisler: You give birth to buildings and you give birth to photographs, and then they get adopted, basically, by the collector, or by the clients.
John Pawson: Sure.

Maryam Eisler: And then they do what they wish with it.
John Pawson: Absolutely.

Maryam Eisler: Does that bother you?
John Pawson: No.

Maryam Eisler: They have a life of their own and that’s OK?
John Pawson: Even though I spend months designing a building, the day you hand it over, it’s no longer yours.

Maryam Eisler: Do you believe in some form of sublime intervention in the act of creation? A hand that enables some – maybe not everyone – to produce and to be creative?
John Pawson: I don’t think so. I’ve always thought that anyone can do it. Although I didn’t think I could. I thought designing was something other people could do. So I learnt; I went to school and learnt to design, literally. Which was illuminating in itself.

Maryam Eisler: Are there any limitations in the act of creation?
John Pawson: One of the things that’s held me back is that people find it very difficult to see what I might do for them. Because the work seems so simple. But it’s a hard grind. It’s making umpteen models. And the problem is that most people just can’t see it. And I can understand that. People came here and saw this place and simply couldn’t understand how I could possibly do anything with it.

I remember giving a talk at RIBA years ago and I turned up, and the whole place was buzzing and heaving, and there were lots of incredibly attractive people, and they all looked very intelligent. And for a moment I wondered why they were there. And then of course I realised they were there for my talk. I still couldn’t think ‘why are they not doing it themselves, and why am I doing it?’ And I realised that it just takes a certain drive; every day you push and you keep your head down and then at the end, there’s something special.

Maryam Eisler: Whereas with photography, there’s much more instant satisfaction. No? You snap, you see…
John Pawson: Oh it’s heaven. Pure satisfaction.

Maryam Eisler: You are your own language in photography. Is the black and white a conscious choice?
John Pawson: Yes I think. Well, my photographs have a black and whiteness about them. But I think it just provides more focus, a stronger message. It takes away the noise.

Read more: Louis Roederer’s CEO Frédéric Rouzaud on art and hospitality

Maryam Eisler: In the chaotic world that we live in and share, do you think your photography helps you gain some control of your life, possibly even focus and introspection?
John Pawson: Definitely. It’s a sort of ordering of things, and the discipline is important. And it makes me even calmer because I’ve captured something. We’re always seeing things as we drive. But I very rarely stop the car. Lost moments. It’s important to capture these instances.

Maryam Eisler: Are you concerned by the passage of time, by the ephemeral?
John Pawson: Of course I’m concerned about the state of things in the world. But I just find it difficult to get involved or to get concerned too deeply about something I can’t personally do something about. Maybe I should do more.

Maryam Eisler: Maybe you do. And maybe you’re not aware of it. Maybe you are adding that much required inner peace to people’s lives. Either through the serenity of your architectural spaces or your peaceful, well measured photography…
John Pawson: We do have a drawer of thank you letters. People’s lives are saved. It feels good to hear about the stories. And there are many stories.

Maryam Eisler: How would you like your legacy to be pondered upon?
John Pawson: Definitely not something I consider at all.

Maryam Eisler: So, for you, it’s about being here, in the moment?
John Pawson: Yeah, I’m here in the moment and legacy is impalpable. I didn’t chart this life, and I never set out to be an architect, but it’s come my way.

Maryam Eisler: A favourite photographer?
John Pawson: Crikey. I do tend to like the classics and people who did things first, but I used to hang out with Robert Mapplethorpe. Some of his works were really good. Not so much the portrait he made of me …

Maryam Eisler: Tell me about that moment when he shot you…
John Pawson: Early 80s is when it happened. Sadly, I was not asked to take my clothes off for him [laughter]… It was just a very relaxed shot of me sitting on the floor, cross-legged. I remember the moment well.

I was around the studio when he was taking photographs. A huge amount of energy went into his photography. He knew what he was doing. He was also very good with people.

Maryam Eisler: I suppose that the primary source of inspiration when you photograph is derived from your own spaces… as well as the reflection of shadow and light within these spaces ?
John Pawson: Yes.

Maryam Eisler: I see the odd tree or landscape every now again. Would you ever snap a figure?
John Pawson: I took Catherine [John’s wife] doing press ups on the beach once! Taking people is a whole other ball game isn’t it? When you’re travelling, I used to see a lot of potential interesting photographs of people and things happening around me. I would take them, but the stress levels were too much, because strangers get uncomfortable. So I decided to stick to what I know.

Maryam Eisler: Would you say you’re a perfectionist?
John Pawson: Absolutely. An imperfect person.

Maryam Eisler: So, you’re an imperfect perfectionist ?
John Pawson: Well I’m obviously aware. A lot of it comes from being very imperfect. At the end, the goal is to produce something really really special, and I don’t personally have the means to do it on my own, so I’m always marshalling other people. It’s a big team. Building is an imprecise trade. So nothing is actually perfect anyway, which is fine because only God can be perfect, as the monks say. And that’s where the curve comes, I think; it’s only God who does curves well.

Maryam Eisler: So perhaps you’re the God of architecture?
John Pawson: That I know not. No delusions there!

John Pawson’s latest book ‘John Pawson: Anatomy of Minimum’ is published by Phaidon: phaidon.com

View his full portfolio of work: johnpawson.com

Vintage Dior haute couture by Gianfranco Ferré, from the late 1990s

In Rome, history, style and a captivating jewellery collection come together in an engrossing new exhibition by home-grown global label Bulgari. Its brand and heritage curator Lucia Boscaini takes LUX on a personal tour

Jewels can tell many different stories: one is the glamorous story linked to their provenance, as is the case of the jewels that belonged to movie stars like Elizabeth Taylor or Anna Magnani.

Bulgari sautoir, 1969.

But we delved into their ‘behind the scenes’ stories too – for instance, Elizabeth Taylor often received jewels as gifts, namely from Richard Burton, but she was also a passionate collector from a young age thanks to her father who was an art dealer – she shared his discerning eye for beauty.

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Anna Magnani also bought jewels for herself, a self-indulgence that perhaps made up for a less-than-happy romantic life. Despite the humble characters she played on screen, she loved to buy and wear very elegant jewels as a life-affirming act. She had a child outside of marriage, which, in her era, would have been a difficult situation to face – both as a woman and as a celebrity. She had a difficult personal life and I think the jewels gave her some energy and ‘sparkle’.

Bulgari tremblant brooch in platinum with yellow and cognac-colour diamonds, 1959. Formerly in the Elizabeth Taylor Collection

As well as Bulgari jewels, the exhibition also features vintage haute couture from the collection of Cecilia
Matteucci Lavarini

“Giardinetto” brooch, 1960.

I believe that jewellery can be transformed by the personal style of the woman who wears it. When they are matched to a charismatic persona and style, all jewels undeniably take on a personality of their own.

Read more: Sassan Behnam-Bakhtiar on his upcoming exhibition ‘Extremis’

We’ve also designed the show to capture the way in which the jewellery reveals some of the social and fashion trends from different epochs. For example, the eclectic and sometimes fun sautoirs from the 1970s remind us that it was a decade of experimentation, with a drive to change in many social aspects. The same is true of the sumptuous chokers from the 1980s, with their compact shape that immediately recalls the teased hair, loud make-up and puffed shoulders of that period.

The exhibition also includes displays from a 1920s French haute couture atelier

Bulgari bracelet in platinum with rubies and diamonds, ca 1934.

Bulgari’s modular jewels from the 1980s also reference career women, the number of whom grew during those years, as they looked for affordable, stylish and distinctive jewels to be worn either in the office or at cocktails after working hours.

The exhibition, ‘Bulgari: The Story, The Dream’, is showing until 3 November in the Palazzo Venezia and Castel Sant’Angelo in Rome. Find out more: polomusealelazio; beniculturali.it

This article was originally published in the Autumn 19 Issue.

Looks from Collection 03 by Riley Studio

Sustainable luxury fashion brand Riley Studio creates elegant gender-neutral wardrobe staples using recycled waste materials and natural fibres. Following the recent launch of brand’s third collection, Rosie Ellison-Balaam speaks to the brand’s CEO Olivia Dowie about the importance of production transparency and the challenges of making eco-friendly clothing luxurious.

Olivia Dowie

1. How important is it for people to understand the production process of clothes?

Hugely important! We work hard to be radically transparent so that our community can understand the work that has gone into making each garment. We really believe in adding respect back into the clothing that we wear, and it is important to us that our community understands the production process and the many hands that have carefully crafted each product. From our yarn mills, our fabric mills, our factories to the Riley Studio team, we want to celebrate everyone. When you understand how a product is made and the complex supply chain involved, you understand why a sustainable and ethically made product costs what it does. We hope it also enables consumers to cherish their products for years to come.

Alongside this, the eco-innovation and research that goes into our materials is fascinating and we love sharing how each material is made and how sustainability is at the core of our business.

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2. What are the difficulties in working with recycled materials?

An incredible amount of research goes into finding recycled materials that are both durable and versatile.

The problem at the moment is that in most cases there isn’t the technology to have 100% recycled fabrics, because they aren’t strong enough. For example, our t-shirt fabric uses recycled cotton, but it has to be mixed with organic cotton to strengthen it. We have our fingers crossed for some breakthroughs though! Recycled materials are definitely more expensive as well, but we’re committed to doing things the right way, not the easy way.

As a small brand, the other issue we find is with high minimum order quantities, ordering lots of fabric also goes against our ethos of producing in limited quantities to tackle overproduction.

Look from Collection 03 by Riley Studio

3. How are you working towards a Butterfly Mark?

We have a series of policies in place to make sure that our sustainability standards are consistent across our supply chain. We will always stand by them and will never compromise. We recently got awarded the Eco-Age Brandmark in recognition of championing gender neutrality through unisex garments, promoting circularity through garment take-back schemes and education, upholding material traceability through extensive sustainability reporting and longstanding relationships with suppliers, and designing with recycled, regenerated and organic fibres.

We are continuously challenging ourselves and developing new processes so that we can create sustainable solutions at every stage of our journey, and we will look to apply for the Butterfly Mark in the near future.

4. How have you made recycling luxurious?

First and foremost, we are a fashion brand, aiming to bring elevated, timeless designs to consumers who are conscious about the state of the planet. We have strong values, so everything we make has to meet our design criteria and brand aesthetic, as well as being eco-innovative. We focus on creating gender-neutral wardrobe staples that are durable and versatile. With simple designs, we don’t follow trends, instead we focus on pieces that we hope will be cherished for years to come, designing for life, not just a season.

Our new collection features our first ever recycled cashmere, which is incredibly soft and made from textile waste. We worked with a small, family-owned factory in Scotland to develop our new beanie, scarf and sweater.

Looks from Collection 03 by Riley Studio

5. Can you talk us through the journey of a ‘Make Good’ t-shirt?

Our ‘Make Good’ t-shirt is created from recot²® made by Gebrüder Otto in Germany, which is a mix of 25% recycled cotton and 75% GOTS certified organic cotton. Adding recycled cotton to organic cotton mix improves the eco-balance of the fabric. The recycled cotton fibres come from textile waste including yarn discards and fabric scraps. By using recot²®, you can save 5000 litres of water per 1kg, which has helped us achieve a total saving of 2,075,129 litres of water across our products.

Lurdes Sampaio in Portugal then make it into a fabric, which is sent to Wonder Routine in Portugal where the t-shirts are made!

6. Favourite piece of Collection 03?

It has to be our Recycled Cashmere Sweater, which comes in Charcoal and Cloud. It is incredibly soft and a piece that represents the best in eco-innovation, craftsmanship and heritage.

View Riley Studio’s collections: riley.studio

Borgo Pignano sits within a stunning 750-acre estate

Why should I go now?

Tuscany is always beautiful, but especially so when basking in firey Autumnal hues, the ground scattered with crispy orange and red leaves. Set in the hills between Volterra and San Gimignano, boutique hotel Borgo Pignano is remote and staggeringly beautiful – the perfect place to disappear for a few days, especially when the hotel is nearing the end of its season (the hotel closes early November and reopens in April). If you’re lucky, you can go the whole day without spotting a single other person.

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What’s the lowdown?

Just over an hour’s drive from Florence, Borgo Pignano is 750-acre estate encompassing 15 rooms, 12 cottages and apartments, an organic farm and various workshops that produce everything from the hotel’s sustainable bath products and candles to the jars of honey and jam that you find at breakfast. A gorgeous 18th century villa sits at the centre of the property surrounded by gardens and forest land, with the main swimming pool carved into the original quarry stone of the hillside.

The hotel’s library

Once a hilltop hamlet, the property has been lovingly restored to preserve its original grandeur and romance. The rooms are decorated with painted frescos, patterned textiles and antique furnishings. In the evenings, guests are invited for drinks in the living room where the in-house mixologist makes cocktails whilst waiters circulate paired canapés. It feels old-world in the very best sense, fostering an atmosphere of earthy, cosy luxury in which guests are treated like old friends rather than moving bank cards.

The living room, where evening drinks are served

Meals are generally served in the main villa’s dining room, with a menu featuring local and organic ingredients which are grown on site including dishes such as herb-filled goat’s cheese salad with pollen from the estate’s honeycomb. Guests are encouraged to freely roam the farm to learn more about the hotel’s sustainable efforts, and can also pick up walking routes from reception to further explore the surrounding landscape. There’s also an art gallery on site with contemporary exhibitions and a spa that offers treatments using natural remedies such as flowers, herbs, plant extracts, oils and honey.

Read more: Louis Roederer’s CEO Frédéric Rouzaud on art and hospitality

Getting horizontal

Located in the main villa, our room was once the bedroom of the marchesa with an adjoining single bedroom for her child. Elegantly and simply furnished with a large four-poster curtained bed, wooden shutters and stone tiled floors, it was a unique and calming space. We especially loved the hidden doors, painted to blend in with the walls.

The signature suite, located in the hotel’s main villa

Flipside

The swimming pool isn’t heated so the water is very cold at this time of year, but we very much enjoyed a bracing swim before breakfast. It’s also worth remembering to pack a few jumpers as the evenings get quite chilly.

Rates from: €220 in low season with breakfast included (approx. £200/ $250)

Book your stay: borgopignano.com

Millie Walton

The Abama overlooks the volcanic island of Gomera

LUX steps into a different universe of tranquillity, colour and cuisine at The Ritz-Carlton Abama resort in Tenerife, a short hop from western Europe

Stepping out of your room into a kaleidoscope washed by warm salty air is a delicious feeling. The kaleidoscope was the lavishly planted sea of flowers in multilayered, terraced tropical gardens around the villa where we were staying. A short stroll along the path took us past even more plants, trees and flowers of every conceivable colour, which rose first past several organically shaped pools and then onto the terrace where breakfast was served.

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The Ritz-Carlton Abama is located on top of a cliff overlooking the ocean and a volcanic island opposite. During breakfast time, this island was always covered in a mysterious, horror-movie murk, almost indistinguishable from the light-blue sky around it. The sun rises slowly in equatorial zones, and even though the morning air had a hint of chill in it, due to the coldness of the sea currents, we were indeed in an equatorial zone off the coast of Africa. The Canary Islands may have become host, in part, to unglamorous mass tourism recently, but they first came into Western awareness as a hive of distinctive species and ecosystems.

The villas are set in lush gardens

The days soon took on a familiar rhythm. Adjacent to the breakfast terrace, a 50-metre pool, curvaceous and irregular, is boarded by rows of sun lounges with a view down over the gardens to the sea. As the sun became stronger, we moved down to the beach, where a seafood and grill restaurant was washed by calling breezes and salty air. There is cliff jumping from either side of the bay where the long, sandy beach is located, and in the next bay you can jump from black volcanic rock to black volcanic rock admiring great schools of crabs, blue and orange, living in the twilight zone beneath them, between land and ocean.

Read more: Gaggenau’s latest initiative to support emerging artisans

Swimming in the clear sea, sheltered by a breakwater, involved being accompanied by fish – sometimes individuals, sometimes in shoals, occasionally monochrome, usually in an array of colours to match and even outdo their plant-based counterparts on land, with fluorescent blues and oranges all the vogue.

If we had not had the energy in the morning, an early-evening game at the tennis centre based around perfect clay courts next to the (celebrated) golf course was a way of adding to the exercise quotient, before either moving to one of the restaurants, or dining on room service on our own terrace overlooking treetops, banana plantations, the ocean and the volcanic island of Gomera. In the evening, this was lit up in pinks and greens, and strung by lights from its occasional roads, just visible from our vantage point 20 miles away across the water.

Abama’s main pool – one of seven at the resort

Fine dining is not often associated with the Canary Islands, something the original creators of Abama sought to change when building this resort. Unusually for an island in the Atlantic, 1,000 miles from the southern tip of Spain, it has Michelin-starred restaurants and an array of other dining spots with specialised cuisines and, often, spectacular views.

The most notable is Kabuki, a Japanese restaurant high above the resort and the 18- hole championship golf course. The whole resort is built on a steep volcanic slope, meaning the view down from Kabuki to the gardens, plantations, swimming pools and the sea is particularly captivating at dusk. Aperitifs are served on the terrace, and inside, the restaurant serves a celebrated blend of local and Japanese cuisine. The flame-seared fish nigiri is easily the most memorable thing on the menu.

At the other end of the resort, although by no means at the other end of the scale, El Mirador is an eagle’s nest atop cliffs that plunge down to the ocean. From the tables you can hear the sea crashing against the rocks far below and smell the ocean spray. Appropriately, El Mirador serves grilled fish and seafood, and is also celebrated for Spanish cuisine from a different part of the country: black rice paella. Like a number of the restaurants in the resort, it also serves a mean bowl of Canarian potatoes, which maximise on intense, nutty taste, accompanied by red and green chilli sauces.

The kitchen and terrace at El Mirado

The cascade of colours at sunset at El Mirador is a match for any oceanside location in the world, and a fitting end to a day that began with the kaleidoscope of flowers outside the villas. The villas themselves are the most secluded category of accommodation in a resort that is bigger than it may seem, so well blended is it with its natural context. We had a seaview suite, including a large living room, huge bedroom and two balconies, which should be plenty for any couple. It can be combined with an adjoining (equally large) bedroom for a family area big enough to match many people’s homes. Interior décor is all cool stone and tiles, with equally large bathrooms to match. And that fabulous morning cascade of colour as soon as you draw the curtain, or open the door.

One-bedroom suites in villas at The Ritz-Carlton Abama Tenerife start from €615, plus tax. Find out more: ritzcarlton.com/abama

This article was originally published in the Autumn 19 Issue.

Peter Beard & Mock Elephant Charge (1985), by Mirella Ricciardi

Born in Kenya, Mirella Ricciardi has worked as a photographer for over 65 years, shooting everything from high-profile fashion campaigns to documentary series. Following the opening of her latest exhibition Past and Present: Vanishing and Contemporary Africa, Rosie Ellison-Balaam speaks to the prolific artist about her influences, creative process and archival work with her daughter

1. How did you decide which of your photographs to show in Past and Present?

We judged the images from the Past according to how they were received in previous shows. For example, The Somali Cattle Herder with Turban recently purchased at Augustus Brandt, in this new large format, as a chromogenic c-type print and then, we introduced my unseen contemporary work taken from 2008 onwards.

Mirella photographing a Paramount Chief in Kenya. Image by Shaibu Shakua, Mirella’s Assistant on Vanishing Africa.

2. How do you think your work fits into the surroundings of Augustus Brandt?

They fitted wonderfully into the elegant Edwardian setting of Newland House, alongside Nicola Jones’s [curatorial] vision that complimented the modern and antique concept.

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3. Which photographers have most influenced your practice?

Harry Meerson and Sam Haskins for their high contrast images, and the Italian camera man Antonio Climati, who taught me to shoot into the light source.

Cover image of Ricciardi’s book Vanishing Africa featuring Pokot Dancers in Western Kenya, East Africa (1968), by Mirella Ricciardi

4. Which series do you feel most proud of?

What I did on my Vanishing Africa shoot, where I quite instinctively seemed to capture the soul of the wild and gentle tribal people I was photographing.

Read more: Chaumet’s latest exhibition in collaboration with photographer Julia Hetta

5. What was it like working alongside your daughter?

It wasn’t always easy because Amina [Ricciardi’s daughter and director of the photographer’s archive] had her own very strong opinions on the work we were dealing with due to structural differences, i.e. I was more interested in the visual aspect while she needed to maintain the acceptable status quo of the photographic establishment.

6. How does your approach to a shooting documentary series differ from a fashion project?

They are two entirely different approaches: documentary focuses on storytelling, while fashion focuses on visual form.

‘Past and Present: Vanishing and Contemporary Africa’ runs until 20 November 2019 at Augustus Brandt, Newlands House in Petworth, West Sussex. For more information visit: augustusbrandt.co.uk/mirella-ricciardi/

To view Mirella Ricciardi’s full portfolio visit: mirellaricciardi.com

The Fattorie dei Dolfi estate in Tuscany uses traditional, sustainable practices in its winemaking.

Whether cooking or dining, some of our most memorable experiences are steeped in history and heritage. Abi Smith speaks to the craftspeople and producers who are placing time-honoured techniques at the heart of their work, with support from Gaggenau’s latest initiative

Conspicuous consumption is a thing of the past; today we all know that true luxury lies in experience and emotion. No longer blind to the damage that our disposable lifestyles are wreaking upon the planet, our gaze has turned to techniques and materials that have stood the test of time. But is this newfound focus on sustainability and durability built to last?

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Kyle Holford and Lauren Smith

For Lauren Smith and Kyle Holford of Forest Coalpit Farm in Wales, who raise their large black cross pigs on pasture, it was the only approach. “From the beginning, we realised that our focus should be on quality and welfare so we kept that philosophy at the core of our decision- making,” Smith says. And though sustainability is rarely the quick and easy option, it pays dividends. “Quality takes time,” she adds. “It takes about twice as long for us to raise our pigs. We realised that we could produce pigs quicker, but there was less colour in the meat, and less of the much-sought-after marbling throughout.”

Forest Coalpit Farm pigs spend their days in the Brecon Beacons National Park woodland, a freedom that leads to “healthier, happier, cleaner pigs that get fresh air and exercise and haven’t been pumped full of antibiotics,” says Smith. There are perks for the environment, too: “Because our pigs roam and are rotated through large areas, there is a constant wheel of fertilising and regeneration, we don’t have vast slurry tanks and we don’t need to keep lights or air conditioning in the barns.”

At Forest Coalpit Farm in Wales, Kyle Holford and Lauren Smith rear free-range large black cross pigs

Increasingly, consumers are turning to sustainable products for better quality. “I don’t follow the principle of sustainability for other people or because it’s popular in the market,” explains Giovanni Dolfi, who heads up the Fattorie dei Dolfi winery in Tuscany. “I do it for myself.” In collaboration with celebrated oenologist Dr Giacomo Tachis, Dolfi harnesses biodiversity and traditional processes to bring his historic Tuscan vineyards to life. “Sustainability is something I’ve always believed in and what I practise every day in my vineyards,” he continues, citing his devotion to both the environment and his customers’ wellbeing. “I am always the first person to drink my wine, and since I care for my own health, I believe that practising sustainability is a natural choice.”

Read more: Ornellaia’s auction of vintages with artwork by Shirin Neshat

This dedication to sustainability is what led German brand Gaggenau to begin working with Fattorie dei Dolfi, as part of its strategy to further promote its wine culture, and Giovanni Dolfi was invited to its International Sommelier Awards. As a maker of professional-grade luxury home appliances, Gaggenau has an instinctive respect for quality and craftsmanship: the ethos it has recently formalised through its Respected by Gaggenau programme. This mark of endorsement gives makers the recognition they deserve, while also offering the prospect of a bursary to support their work.

Here and above: the Fattorie dei Dolfi wine estate in Tuscany

It is a project that chimes with the current zeitgeist. Ever since the ‘slow food’ movement showed us the power of taking natural ingredients and enjoying them mindfully (something that discerning aesthetes have always known) the world has been longing for a more measured pace of life. Love it or hate it, the philosophy of tidiness guru Marie Kondo (who proposes keeping only those items that ‘spark joy’ within you) has put a popular modern spin on the wise words of William Morris more than a century before, namely: “Have nothing in your houses that you do not know to be useful or believe to be beautiful.”

It is a sublimation of beauty and utility that has led Nico Zendel – a designer at Gaggenau – to begin a side business forging bespoke knives with antique files. “Perfect function is a must and the perfect form supports the perfect function,” he says. “At Gaggenau we work with a lot of raw materials and try to highlight the handcrafted details on our products. That is the way I design my knives as well.” If you have an old file that has been handed down through your family, Zendel will use it to create a bespoke product for you. “An old file that has no use anymore is often discarded, but if you make a knife from it, you can use it every day, see the marks on it and perhaps think of your father or grandfather while you’re cooking. It has an emotional component that I’m very interested in,” he says. The result is a modern heirloom that says more about you than the most carefully curated Instagram feed ever could.

Designer Nico Zendel crafts bespoke knives from antique files which may otherwise have been discarded. Here, above and top: images by Alexander Stuhler

Zendel says that such objects last longer because people treat them with more respect: “For me, it’s important to preserve traditional techniques as they imbue the products with heart and emotion. It helps to get away from the throw-away culture; people are more linked to products that tell a story.” Dolfi’s wines are also overflowing with feeling: “Fattorie dei Dolfi is a project built by heart and hands,” he says. “By heart, we mean our passion, dedication and our love for the project. By hand, we mean the hard work we put in every day to pursue exceptional quality and unique results.”

Fattorie dei Dolfi’s owner, Giovanni Dolfi

This hard work manifests itself in a natural approach to viniculture, where modern shortcuts are eschewed for gentler methods that work in harmony with the land. “My vineyards are surrounded by woodlands, where you’ll find bees, ladybugs, spiders, hares, birds and more,” says Dolfi. “The benefits of this are obvious. For example, the bees bring natural pollination and help to control the numbers of harmful insects. This ensures the health of my vineyards and the exceptional quality that I pursue.”

Read more:  In conversation with renowned Belgian painter Luc Tuymans

But the path of an artisanal producer is not always easy. In Dolfi’s case, during late summer, wild boars have been known to gorge on the grapes. A commitment to what we might call ‘slow luxury’ – much like slow food – means a rejection of the ‘pile it high, sell it cheap’ philosophy that has made other entrepreneurs rich. As Smith from Coalpit Farm points out, “rearing pigs outdoors requires a lot more labour than an indoor system with automated feeding. We have to move the pigs from pen to pen, and it’s harder to get their diet just right when they burn a lot more energy running outside. And there’s the weather, too.” But Smith, who knows every sow by name, wouldn’t have it any other way.

Remembering how his grandfather would walk him round their ancestral vineyards, Dolfi says: “As we relentlessly strive for efficiency, traditional ways fall out of favour and the concept of exceptional quality can be lost.” To survive, these crafts must be supported and celebrated, and that’s where Respected by Gaggenau comes in. With the right platform and access to a global support network, their skills will endure for generations to come.

Respected by Gaggenau

Gaggenau’s head of design, Sven Baacke

Sven Baacke, head of design at Gaggenau, shares his philosophy on supporting emerging artisanal creators

LUX: What inspired Respected by Gaggenau and why is it important to preserve traditional artisanal skills?
Sven Baacke: The initial concept of the Respected by Gaggenau initiative was inspired by our appreciation for people who are using traditional techniques to create a different and exceptional product. Gaggenau has always celebrated exceptional craftsmanship and we wanted to formalise our support for these artisans and craftsmen through this initiative.

LUX: How can advanced technology and traditional craftsmanship work hand in hand?
Sven Baacke: A unique example of how Gaggenau merges traditional production methods with advanced technology is the way in which we construct our EB 333 ovens. Since its introduction in 1986, this 90-cm wide oven, designed for private kitchens, is crafted almost entirely by hand using select materials. Yet the company also embraces the latest technology: we created a clean room at the epicentre of our Lipsheim factory to hand-build our signature TFT touch display, which features
on the EB 333. This is a clear case of how technology and artisanal craftsmanship work together in harmony.

LUX: Is craftsmanship still valued by consumers in a modern market?
Sven Baacke: Craftsmanship, now more than ever, is valued highly by luxury consumers. Our customers expect exceptional craftsmanship from Gaggenau appliances. At every stage of production, we examine our work to seek out imperfections. The quality control that we use when creating our appliances ensures that we produce an extraordinary product, every time.

LUX: How will the Respected by Gaggenau artisans benefit from your global network?
Sven Baacke: Gaggenau takes part in a range of events globally; for example, we are a proud partner of The World Restaurant Awards, which was launched in Paris at the beginning of this year. We introduced Respected by Gaggenau at the awards, with an immersive experience inspired by a traditional marketplace. It featured products curated by us and the Collège Culinaire de France, and guests could explore the collection while learning more about who made each item. We also host the Gaggenau International Sommelier Awards – a global search for the world’s best young sommelier talent – so we’ll encourage their involvement with this event too. It’s all part of our initiative to celebrate these remarkable artisans and their stories.

Find out more: gaggenau.com/gb

To discover Nico Zendel’s range of knives visit: vauzett.com.

This article was originally published in the Autumn 19 Issue.

Lewa Wildlife Conservancy, Isiolo, Kenya. Image by David Clode

Philanthropists have long played a huge role in wildlife conservation, but now a more holistic approach is needed in a world where humans and nature increasingly live cheek by jowl

Andrew Shirley

Sometimes, to see the bigger picture, you have to turn things inside out. For decades, wildlife conservation, particularly in Africa, has focused on what lies within the boundaries of national parks, reserves and other protected areas, many of which owe their existence to the fortunes of benefactors and donors enthused with a passion for the environment.

But despite their efforts and the hundreds of millions, if not billions of dollars spent, the continent’s wildlife is still in a state of precipitous decline. Now, there is growing recognition that part of the solution is to be found on the other side of the hard and not-so-hard boundaries separating man from nature.

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To many, the conservation battleground in Africa is a war – literally, conducted by both sides with military-grade equipment and planning – against the illegal trade in ivory and rhino horn. And wildlife isn’t the only victim. Paul Milton, founder of the Milton Group, an advisory firm to a number of ultra-high-net- worth families with a combined interest in over 1.5 million acres of conservation lands in Sub-Saharan Africa, has seen evidence of this first-hand. The story from just one community in Mozambique is harrowing. Scores of children orphaned; fathers lost while poaching or through long-term incarceration; mothers forced into prostitution to survive.

Huge sums are spent to thwart poaching, but too little on addressing the reasons that drive people to do it. Having interviewed many poachers, he says, they want just two things: food security and work. Asking someone who already spends millions on conservation to fund employment creation isn’t an easy sell, yet long term, generating local economic value offers a more sustainable means to reduce poaching.

Conservation and the hospitality industry that springs up alongside it does create jobs, but it’s not enough. Park boundaries that ten years ago were relatively devoid of habitation are now marked by informal settlements of hundreds of thousands of people – the fences of some of the world’s most iconic wild spaces are used as washing lines.

Creating buffer zones around parks is one solution, but only increases the sense of dislocation between local people and wildlife. Even the word ‘conservation’ is controversial due to its colonial undertones: high-minded thinking from afar, divorced from the daily realities of existence.

Part of the problem is that very little attention has been paid to how population growth and infrastructure development, such as new transport corridors, increasingly affect the disparate conservation zones scattered across Africa. The base data exists – the world has been comprehensively mapped from space – but nobody has thought to join the dots in Africa. A new initiative between mapping and geographic information system providers ESRI, Nasa and The Peace Parks Foundation, coordinated by Milton Group and the UN, looking at a ten-million-hectare swathe of Botswana, South Africa, Zimbabwe and Mozambique, should act as a framework for a more unified approach to conservation.

The other elephant in the room is that conservation in its current form isn’t financially sustainable over the long term. Since the financial crisis, the NGO model appears to have hit a glass ceiling and even the most deep-pocketed philanthropists don’t wish to leave money pits for future generations.

Tourism was long regarded as the answer, but alone, it is no silver bullet. At the top end of the market, the cost of providing luxuries to attract big-spending visitors to remote areas makes it difficult to generate huge profits. Further down the chain, the volume of guests on more affordable safaris can damage the flora and fauna supposedly being protected.

Read more: Introducing the new age of ink art

Well-resourced individuals and families, however, are looking at new hybrid hospitality models involving impact investment, public/private partnerships and hospitality programmes for their exclusive use. This model is particularly suited to private reserves, however most of Africa’s protected spaces are under a wider umbrella of stewardship. More innovative models are required, that may not be linked to the protection of a species, but to the wider benefits to society, such as carbon sequestration that can mitigate the speed of climate change. The payment for this ‘natural capital’ could come from companies looking to offset their own carbon emissions.

In my role as editor of The Wealth Report I’ve been lucky enough to see first-hand the amazing work being done by philanthropists in Africa, whether conserving existing wild areas or rewilding landscapes given over to agriculture. The success stories are awe-inspiring. But a new narrative is required that accommodates the needs of people as well as wildlife, one that is not imposed on the continent, but works in harmony with it.

For UHNWIs looking to get involved in conservation, there is a unique opportunity now to shape that narrative. Some advice: let your passion drive you, but don’t let it overwhelm your decision making. Work out where your efforts will have most impact; an isolated block of land may be ideal for a private reserve, but somewhere providing a corridor between existing conservation areas may offer longer-term benefits. Visit existing projects, assemble a team of experts, talk to potential partners and don’t look at wildlife in isolation, the local community is an equally important part of the equation. Finally, have a clear vision of how your project will be financed in future to protect your legacy.

Many wealthy individuals have created their fortunes by turning things inside out to create new perspectives. They still have a huge role to play in safeguarding the world’s wildlife.

The Wealth Report, a guide to prime property and wealth trends, is published by Knight Frank. knightfrank.com/wealthreport

This article was originally published in the Autumn 19 Issue.