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.

Follow LUX on Instagram: luxthemagazine

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.

Follow LUX on Instagram: luxthemagazine

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.

Follow LUX on Instagram: luxthemagazine

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.

Follow LUX on Instagram: luxthemagazine

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.

Follow LUX on Instagram: luxthemagazine

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?

Follow LUX on Instagram: luxthemagazine

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.

Follow LUX on Instagram: luxthemagazine

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.

Installation shot of the ‘Autrement’ exhibition in Chaumet’s Paris boutique

Maison Chaumet’s latest exhibition Autrement reimagines selected jewels through drawings from its Parisian archives and a series of transformative photographs by Swedish photographer Julia Hetta

Showcasing heritage pieces alongside contemporary creations, Autrement offers an alternative take on how to wear Chaumet high jewellery through individually styled reinventions of each jewel.

Follow LUX on Instagram: luxthemagazine

The Jeux de Liens sautoir necklace, for example, featuring the brand’s signature linking design set in rose gold with mother-of-pearl, becomes an intricate bandeau reminiscent of the iconic Chaumet tiaras. The same necklace is also photographed in a balletic pose, wrapped daintily around the leg to form an anklet.

Image by Julia Hetta

A peacock feather bodice ornament from 1870 with a dazzling sapphire encircled by rubies and diamonds is remodelled as a delicate hair-pin, whilst a crescent moon brooch fashioned with fine pearls is worn as an aigrette with deep blue plumes. In perhaps the most innovative remodelling, L’Épi de Blé de Chaumet brooch and earrings are used as a pair to bind a braided hairstyle in place.

Read more: In conversation with Belgian painter Luc Tuymans

The smallest yet most sophisticated transformation, however, is made using the L’Épi de Blé de Chaumet white gold cocktail ring as a scarf ring, highlighting the large tanzanite and its surrounding diamonds in a more prominent position.

Image by Julia Hetta

Drawing inspiration from styling details and poses depicted in Renaissance art, Julia Hetta’s photographs modernise the more traditional jewels whilst contributing to the historical dimensions of the exhibition from the 19th-20th century sketches to the 15th-19th century LeBrun frames.

Chloe Frost-Smith

‘Autrement’ runs until 2nd November 2019 at Chaumet 165 Boulevard Saint Germain, 75006 Paris. For more information visit: chaumet.com/en/autrement

Iranian artist Shirin Neshat’s label designs on display at the closing ceremony of the Ornellaia auction at the Peggy Guggenheim Collection in Venice

Italian wine producer Ornellia’s 11th annual online benefit auction in collaboration with Sotheby’s and the Solomon. R. Guggenheim museum, featured vintages with label designs by Iranian artist Shirin Neshat. Digital Editor Millie Walton recalls the closing ceremony at the Peggy Guggenheim Collection in Venice

Photography by James Houston

Gliding along the Venetian canals as the sun sets is one of those rare moments when real-life seems to align with cinema. More than a couple of times during the evening, as we stood in the courtyard and then, on rooftop of the Peggy Guggenheim Collection sipping glasses of Ornellaia vintage, someone compared the evening’s scene to La Grande Bellezza. We were invited though, not just for the wine, views and glamorous company, but to celebrate the funds raised by the Sotheby’s conducted auction of Ornellaia in support of the Mind’s Eye Program at the Solomon. R. Guggenheim Museum.

Guests watching the final few minutes of the online auction projected onto a screen

One of Neshat’s label designs

The auction is part of the Italian wine producer’s Vendemmia d’Artista project, which each year, commissions a different contemporary artist to create an artwork for a series of limited-edition labels. The artist is give a single word description of that year’s harvest as the starting point. For Shirin Neshat, the prompt was “La Tensione” (or tension in English).

Follow LUX on Instagram: luxthemagazine

Known for her iconic monochrome aesthetic and poetic vision, the Iranian artist produced a haunting series of photographs of luminous white hands captured in various postures and inscribed with Persian script. These images became labels for bottles of the 2016 vintage, which were auctioned in 11 unique lots, the most coveted of which included a visit to the Ornellaia vineyard and a luxurious overnight stay.

Artist Shirin Neshat, who produced a series of monochrome photographs for the Italian wine producer

Following a series of speeches from various team members at Ornellaia and Neshat herself, the auctioneer called an end to the bidding, announcing an impressive total of $312.000.

For more information on Ornellaia Vendemmia d’Artista visit: ornellaia.com/en/vendemmia-d-artista

‘Twenty Seventeen’ (2017), by Luc Tuymans, Pinault Collection

Favouring themes of conflict, violence and death, renowned Belgian painter Luc Tuymans fulfils the brief of brooding artist, yet his work is deeply layered and complex. With two major retrospectives on his work being held in Europe this year, Millie Walton meets the man behind the canvas

The artist in his Antwerp studio

Through a garage door and down a wide passageway: a man’s bleached face stares blankly ahead with large, piercing eyes. To the right, there are two more enormous pale faces. “These are dead people,” Luc Tuymans says of the series of three portraits hanging in his studio in Antwerp. They will soon be shipped off to form part of his upcoming show at De Pont Museum of Contemporary Art in the Netherlands, one of two major retrospectives this year. We sit on two sagging armchairs; there’s a small table between us with a cup of cold black coffee and in front of us, another much smaller painting of a ghostly, hooded figure tacked onto the wall with masking tape. It’s a present for the director of De Pont, Tuymans tells me, lighting up the first of many cigarettes. Apart from the paintings and a table stacked with paper and dried-up paint mounds, the studio is stark, almost blindingly white in the sunshine. A former laundrette, Tuymans bought it over ten years ago, having previously worked in a much smaller apartment, which looked “more like Francis Bacon’s studio”. This place, he says, is, “antiseptic, but it works well”.

Follow LUX on Instagram: luxthemagazine

The Belgian artist famously completes most of his works in one day, giving the impression of a feverish outpouring of creativity, but really the works have been brewing for some time, often for months, before Tuymans applies paint to canvas. For him, the process begins with a careful curation of pre-existing imagery, drawings, Polaroids and photos he takes on his iPhone, or things he encounters online. He selects his source material according to its relevance and paintability, by which he means, “what kind of kick I can get out of it”. Considering that much of his subject matter is violent, morbid or at the very least, deeply cynical, we might consider these ‘kicks’ to be somewhat sadistic.

‘Disenchantment’ (1990), by Luc Tuymans, private collection

Right from the start of his 40-year career, Tuymans has been depicted by the media as the brooding artist, in part due to his intimidatingly large physical presence and flickering eyes, but also because of his ongoing fascination with the darker corners of European history and reluctant approach to beauty. Speaking of his current retrospective exhibition at the Palazzo Grassi in Venice, he laughs growlingly at the idea that people might consider his paintings beautiful. In the press video for the show, he is depicted as a stereotypical villain lurking in dark alleyways and brandishing his paintbrushes as weapons. It says a lot that Tuymans himself made the short film.

‘Die Zeit (pt 4/4)’ (1988), by Luc Tuymans, private collection

And yet, something in Tuymans tells you not to trust appearances. Just as his paintings may appear prosaic in their imagery, their significance is deeply layered. To view his work is to enter into a game in which you neither know the rules nor the aim. “You could actually see my work as the deep web, or the precursor of it,” says Tuymans with a slight smile, making it hard to gauge how seriously to take such statements. Nevertheless, his practice is certainly preoccupied with peripheries, hidden objects and meanings, things the ordinary eye would ignore or miss. There is a tension in his paintings between uncovering and disguising, remembering and disremembering. As with the series of cadaver portraits, his subjects often seem to be disappearing, fading from memory and simultaneously, clinging desperately to life.

Read more: The new age of Chinese ink art

‘Allo! I’ (2012), by Luc Tuymans, private collection

“From very early on, my work was born out of an insane and very profound distrust of imagery,” he says, which is now especially relevant in the age of the digital image and mass reproduction – where the lines between originality and forgery are increasingly blurred. This distrust, in fact, was the reason Tuymans started painting as a teenager in the late 1970s, seeking a deliberate ‘regression’ by creating a work that had the appearance of another era and thus, developing a practice of so-called ‘authentic forgery’. However, this seems somewhat reductive to Tuymans’ intentionality, which is one of total disillusionment. Take, for example, the mosaic of pine trees that covers the floor in the entrance hall of Palazzo Grassi. Visitors might be forgiven for assuming it to be part of the Palazzo’s grand decoration rather than an act of wilful deception by Belgium’s most famous contemporary painter, who worked with an Italian firm to perfectly match the green marble to the existing floor colouring. Then there’s the fact that the mosaic is based on Tuymans’ iconic 1986 painting Schwarzheide, named after a Nazi labour camp where many inmates were worked to death. This seemingly picturesque cluster of pine trees represents the evergreens planted along the border of the camp to hide it from public view.

‘Technicolor’ (2012), by Luc Tuymans, private collection

‘München’ (2012), by Luc Tuymans, Pinault Collection

Encountering works such as these for the first time, how can we know or begin to understand their embedded contexts? “I am a big believer in not overestimating or underestimating the public,” says Tuymans. “I don’t believe in wall texts. You’re given a reader, which you can choose to look at whenever you like, but there is a point I’m trying to make in the experience through which you have a feeling of not just oblivion, but utter ignorance.” This comes from the fact that the exhibition at Palazzo Grassi, titled La Pelle after Curzio Malaparte’s book of the same name, is a retrospective show in one of the world’s most visited cities, so the audience being addressed is the wider public rather than art experts. Tuymans notes that many viewers may be drawn not by the art, but by a “certain kind of voyeurism to get into spaces such as the Palazzo”. He relishes the idea that the exhibition may disrupt their expectations, functioning as “a strong confrontation with the space”.

Read more: Photographer Viviane Sassen’s ‘Venus and Mercury’ at Frieze London

Installation from ‘La Pelle’, ‘Turtle’ (2007), by Luc Tuymans, private collection

Does he think of himself as a political painter, then? “No artist can be political because you can’t load up an artwork from the start, if you do, you’re just making propaganda,” says Tuymans. “But that doesn’t mean the work cannot have a political stance at a certain given moment.” Whether his paintings work or not, in his opinion, has a lot to do with the images that surround him. “I need an extreme tension when I paint,” he claims, also referring to the anxiety that he feels each time he approaches the blank canvas. There are conditions for his creative process: Thursdays and Fridays only (“because it’s the end of the week”), a clear head (“no drinking the night before”) and a sense of risk. “I think that fear of failure is very necessary,” he says. “Otherwise I may as well do a 9-to-5 job.” Of course, failure is a less painful prospect when you’re one of the world’s most respected painters. Now, Tuymans has the luxury of “throwing away” a painting when it’s not working, and by that he means literally into the bin. Antwerp residents, take note.

‘Ballone’ (2017), by Luc Tuymans, private collection.

“Whenever I’m asked the question: why do you still paint?,” muses Tuymans, “the answer is always: because I’m not f*cking naive. Painting is a medium that works within its own proposition with time and it’s always had this inheritance of being an anachronism within that time, which has an appalling impact on your brain.” The impact he speaks of relates again to the multilayered aspect of his work, to the way in which he both draws from and mimics the past, while simultaneously and inevitably applying his contemporary, subjective perspective. It is this perspective, combined with the cultural context in which the work is viewed, that creates its relevance. So the significance of Tuymans’ paintings – as perhaps with all artworks – is continuously reforming. “I’m currently working on a two-year project with three scientists,” he says. “We’re going to put [my] work into algorithms. Not to make a painting with a computer, because that’s stupid, but to see what the signifiers mean in terms of language. Language is something that is always changing and the aim is to compare that to the anachronism of painting and to see what the outcome would be.” Admirers of his work will anticipate this next incarnation with interest.

This article was originally published in the Autumn 19 Issue.