Dramatic architecture by Paris-based architect Didier Poignant has created a spectacular contemporary hotel out of a cognac ageing warehouse

A former warehouse in the heart of the town of Cognac is set to reopen this year as a luxury hotel. Emma Love gets an exclusive preview of the dramatic Hôtel Chais Monnet

It’s no secret that cognac has become cool. Where once the French brandy – determined as such by being made specifically in the Cognac region in southwest France – had a fusty reputation as an old man’s after-dinner tipple of choice, now the 390 cognac houses producing the stuff seemingly can’t make enough of it (the Hennessy label, owned by LVMH, recently opened a new bottling plant to keep up with demand and increase annual production). The fact that it’s a huge hit in China where it’s seen as a status symbol of wealth, and in the US, where it’s synonymous with rap music, are undoubtedly part of the reason why five bottles of the amber-hued spirit are sold every second somewhere in the world. And just as cognac the spirit has gone through a cultural shift, now the historic town where it’s produced is finding itself in the global spotlight, too.

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Last year Tony Conigliaro, a mixologist and major influence on London’s cocktail scene (he is behind the legendary bar 69 Colebrooke Row) opened Luciole, a bar with a cognac-based cocktail menu and this summer, the game-changing Hôtel Chais Monnet will open its doors in a former cognac warehouse, set in two hectares of land in the centre of town. Backed by British investor Javad Marandi, who is also the owner of the Soho Farmhouse in Oxfordshire, the hotel will house 92 rooms and suites, plus 13 apartments. “Here in the town we’ve been waiting for this for a long time,” said mayor Michel Gourinchas. “We’ve asked ourselves a number of times what we could do with this site and thanks to this hotel we’ll be able to see a reality of what’s possible in a way that’s in the best interests of our town, its inhabitants, and tourists.”

The public areas of the newly designed Hôtel Chais Monnet, such as the spa (top image) and the hallways, combine cool contemporary design with some original features of the former Monnet warehouse

The site itself has a unique history. The original 19th-century property was once owned by cognac trader Antoine de Salignac who, in 1838, founded the Society of Cognac Vine-growers, a community of several hundred small-vine growers who wanted to pool their strength to have sufficient stock to sell at the same time. Towards the end of that century, the shareholders asked Jean-Gabriel Monnet to manage the society and as part of the role, he and his family moved into the stately mansion and warehouse, naming it Chais JG Monnet. His son, also named Jean Monnet, left school aged 16 to follow in his father’s footsteps, travelling to Germany and America to sell cognac. He went on to become a political economist and diplomat, and an influential proponent of European unity (he is considered one of the founding fathers of the European Union). Later, the site was bought by the LVMH group, and then sold back to the town of Cognac in 2006.

The next chapter in the property’s life looks very different – quite literally. Today, Hôtel Chais Monnet comprises seven original and three new buildings, all designed or remodelled by Didier Poignant of Ertim Architects in Paris. Looking at the hotel, what’s perhaps most striking is the way that the old and modern have been fused together, and how cognac references are subtly employed throughout. “I have never worked on, or seen a hotel like this in France,” says Poignant. “Transforming a historic cognac warehouse with such a large site in a town is very rare. For this reason, it is such a special project.”

Read more: Street artist Alec Monopoly on the purpose of art and wearing a disguise

At the heart of the property are a pair of new Les Ceps glass buildings surrounded by a twisting metallic structure inspired by grape vines. These house some of the rooms (the rest are in an original building, where the cognac was once aged) on the upper levels; on the ground floor of one there is a spa and wellness centre with seven treatment rooms, an indoor/ outdoor swimming pool, a hammam, jacuzzi and gym. The third new building is a series of apartments, which can be rented from three nights to a couple of weeks. The former old barrel-repair warehouse has been turned into a jazz bar with vaulted ceilings, Chesterfield sofas and a piano in one corner. As you’d expect, it will be stocked with a large selection of cognacs, from bottles by the small, lesser known houses to the famous Louis XIII from Rémy Martin.

Render of one of the bedrooms

There are two restaurants within the old ‘Chai Cathedral’: a relaxed French brasserie and a more formal fine-dining offering which has old barrels, once used for cognac ageing, at the entrance. The chef chosen to head up the kitchen of the latter is Sébastian Broda, best known for his light, Mediterranean cooking at Michelin-starred Le Park 45 within Le Grand Hotel Cannes. “What matters,” explains hotel director, Arnaud Bamvens, “is that Sébastien Broda is a name of tomorrow. In his kitchen, which upholds a gastronomy of excellence, we can find his humility, his passion for cooking, and his interest in local produce. We want a cuisine of land and sea, rather than one or the other.” The hotel also has a private cinema, cigar lounge, kid’s club, a rooftop garden bar for summer sundowners, and a series of rooms dedicated to re-telling the story of Chais Monnet so far. The multipurpose ballroom (for up to 220 people) and four seminar rooms are suitable for meetings and events.

Render of the glass-encased entrance linking the two original warehouses

Of course, one of the biggest reasons for staying here will be the draw of visiting some of the many cognac houses that are on the doorstep, but the hotel is equally keen to promote the region’s many other attractions. The cobbled streets, the perfectly manicured gardens and traditional architecture, and the Charente river that runs through it, all point to a slower paced, more charmed life.

Read more: andBeyond CEO Joss Kent on creating luxury in the wilderness

“Cognac has a small bar scene but it has a lot of potential,” says Conigliaro, who decided to open a bar in the town with Guillaume Le Dorner, the former bar manager of 69 Colebrook Row, when he returned home to France. It was a smart move, and one that might encourage more drinking of cognac in the town itself (according to figures released in 2016, 97 per cent of cognac is exported, bringing the country 3 billion euros in annual revenue). With the cultural redevelopment of the nearby city of Bordeaux, it means a whole new part of France is opening up to the luxury traveller.

The hotel’s swimming pool and (below) one of the 21 suites that will be available

Four must-visit cognac houses

Meukow

Meukow was founded in 1862 by two brothers, August and Karl Meukow. They first visited Cognac on behalf of the Tsar of Russia, who hired them to buy French brandy supplies for the imperial court at St Petersburg. Look out for Meukow Extra, made from a blend of the very oldest eaux-de-vies in the Paradis Cellar. meukowcognac.com

Domaines Francis Abécassis

Domaines Francis Abécassis is a young cognac house with 220 hectares of vines. It is owned and run by Francis Abécassis and his daughter Elodie, who take a contemporary approach to producing classic cognac, such as in ABK6, blended from a selection of old eaux-de-vies.  abecassis-cognac.com

Camus

One of the largest independent, family-owned cognac houses, as well as one of the largest landowners in the sought-after Borderies cru. Headed up by fifth generation owner Cyril Camus, the house recently launched a new addition to its Borderies range, Camus XO Borderies Family Reserve. camus.fr

Otard

Established by Baron Jean-Baptiste Otard in 1795, this house is known for its medieval residence and its distinctive teardrop shaped bottles. The one to buy is Fortis et Fidelis, created in homage to the house’s founder and featuring the Otard coat of arms motif on the bottle. baronotard.com

For more information and updates on Hôtel Chais Monnet visit: chaismonnethotel.com 

The artist in his signature (dis)guise in Hong Kong

Street artist Alec Monopoly’s distinctive creations are a blend of subversive graffiti culture and post-pop colour. And he has now been tasked with rejuvenating the culture at watch brand TAG Heuer. Nathalie Breitschwerdt catches up with the elusive – and anonymous – LA-based graffiti genius.

The manufacture of luxury watch brand TAG Heuer consists of a series of modern buildings on the edge of La Chaux-de-Fonds, in western Switzerland. The town is built on a US-style grid system, seemingly at odds with the rolling forested hills of the Jura that surround it.

Inside, it’s as you would expect a high-end watch factory to be. A sanitized workshop floor contains rows of technicians piecing together different watch components; other rooms contain test laboratories and machines for finishing the timepieces.

Walk from the workshop through some connecting corridors to the corporate offices, however, and you are greeted with an extraordinary sight. It is a glass-walled room with paints, canvases and strikingly colourful artworks, finished and in progress.

There was no artist at work on the day we visited – he was back in his home city of New York – but Alec Monopoly is no ordinary artist in-residence. Not long ago, his art was illegal. A graffiti artist, his trade involved tagging (painting) buildings – other people’s buildings – with his distinctive design. Monopoly developed a cult following on Instagram, and was then discovered by pioneering, maverick watch CEO Jean-Claude Biver. A key player in the revival of the luxury watch industry and now head of the LVMH watch division (which includes TAG Heuer), Biver made Monopoly a brand ambassador, launching the partnership at Art Basel Miami. Explaining why the artist would be given his own studio up in the Swiss mountains, Biver explained that Monopoly would play a key role in updating the brand for the new generation. “The most important thing is that Alec will be our art provocateur,” Biver said. “He will bring his influence inside the company. He will infuse the culture of TAG Heuer. That is the real job.”

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Monopoly’s real identity is still a secret: he hides his face behind a red bandana. But his post-Roy Lichtenstein takes on pop culture characters (and specifically the banker from the Monopoly board game) give him a universal and instantly recognisable appeal – as does his nuanced take on the world’s economic system.

Monopoly’s artworks are now appearing in TAG Heuer stores around the world, and he is more likely to be courted than taken to court by the property world now.

Alec Monopoly’s depiction of TAG Heuer ’s CEO Jean-Claude Biver at Art Basel Miami

LUX: When did you start making street art?
Alec Monopoly: I have been painting on the streets of New York since I was 12 years old. Growing up in the city, I loved skateboarding and the graffiti culture in the city. In 2008, I moved to Los Angeles and that’s when I started integrating my artwork into street art. I was a graffiti artist before and that’s when I became a street artist.

LUX: How has the perception of street art changed since you first started?
Alec Monopoly: It’s changed big time. It’s become more accepted into pop culture recently, whereas before it was much more frowned upon. In the early days especially, graffiti was looked on as pollution and destruction, but now it’s transforming the grey walls of cities into things of beauty. If you look at the Miami Design District and Wynwood, it’s changed a dangerous neighbourhood with abandoned buildings and actually turned it into something beautiful. Take a look at the Wynwood Walls where some of the best artists in the world come to paint; it’s a great example of how street art has been accepted into society.

Read more: Megan Balch & Jaime Barker, Founders of Flagpole on their inspirations and creative process

LUX: Tell us about your fascination with the Monopoly Man.
Alec Monopoly: I started painting the Monopoly Man in 2008 when the economy started to dip. I was playing the game Monopoly, which I love, and was watching the news where I saw Bernie Madoff being arrested. I remember thinking how ironic that situation was, as he sort of looked like the Monopoly Man. There was so much meaning to it. People really connect with the Monopoly Man, so that’s when I started painting him for fun in the street. Originally it was for fun, but it also became more real due to the situation. That’s when I started spreading more intricate characters into my paintings, like Robert De Niro, Twiggy and Jack Nicholson.

An Alec Monopoly creation in Miami’s Design District

LUX: Why do you think your artwork is in such high demand?
Alec Monopoly: People can really connect with my work. I create a lot of work that has a positive message; it’s fun and brings happiness to people. A lot of people have found that my work is inspirational. Having the Monopoly Man with bags of money and seeing him run with them, it’s kind of like a good luck charm, which you see in the offices of CEOs. Now, I draw a lot of inspiration from life: travelling, meeting new people, experiencing new things. I truly live through my artwork and express who I am as a character, as a person, through my paintings. I think it’s important for an artist to express themselves through their work in a way where people can see life through their eyes – my eyes.

LUX: Are there certain places in the world that are “street art hubs”?
Alec Monopoly: I would say there are different cities where street art is more popular. Berlin would be one of the top cities for emerging street artists and for street art in general because it’s more accepted into the culture there. I would say LA is great due to the massive walls throughout the city and then, of course, Miami Wynwood is the Mecca of street art, for now.

Alec Monopoly tags for TAG at a pop-up store in California

LUX: You’re a brand ambassador for TAG Heuer. How did that come about?
Alec Monopoly: It came about through an organic relationship with Mr Biver. We met in the south of France in my studio and created a relationship. I was really taken aback by him – he’s a genius. He’s like the Steve Jobs of the watch industry. Hearing him talk and his passion, we really connected as I have a great passion for watches myself. My dream has always been to create a watch with my artwork in the dial. We really saw eye to eye with the collaboration and it’s been an amazing journey for both of us. All the watches sold out immediately!

LUX: Is it strange for a street artist to be associated with a luxury brand or do you see it as a step in the right direction?
Alec Monopoly: I definitely think it’s a step in a positive direction. I’m very picky who I do brand collaborations with, but I think TAG is the perfect fit. It’s the perfect vehicle to pursue one of my dreams, which was to put my art inside a watch. I was very happy to do it.

Read more: Luxury in the treetops at Chewton Glen

LUX: Anonymity and graffiti seem to go hand-in-hand for street artists such as Banksy and yourself. Why is that important to you?
Alec Monopoly: For me, it represents the freedom to keep painting in the streets where I would like to paint. I paint in some places where it’s kind of a grey area with regards to the law, so it’s important to remain anonymous. It’s kind of fun too; I can take my hat, my mask and my jewellery off and no one really knows who I am – it’s kind of nice to have that double life. It’s very interesting that when I cover my face people recognise me and when I don’t, people have no idea who I am. It’s the weirdest thing!

LUX: How do you define art and its purpose?
Alec Monopoly: I see art as very important for culture. It’s a way of seeing what’s going on in that part of history and what’s going on in the world. For me, it’s a form of therapy and expression, but it also brings happiness to other people’s lives. When I’m painting one of these graffiti walls, I’m transforming that neighbourhood through bright colours. People driving by, kids growing up there – I try to bring them as much happiness as possible. I’ve met kids who started painting their own versions of the wall and creating their own art, which is really inspirational to me.

LUX: What do you do when not making art?
Alec Monopoly: Honestly, I’m always creating art. Yesterday I was at the beach and started making these drawings in the sand – I can’t even relax when I’m at the beach! I love art, it’s who I am.

View Alec Monopoly’s portfolio of work at alecmonopoly.com and Tag Heuer’s collections at tagheuer.com

The sinuous curves leading up to the St Gotthard pass

The St Gotthard, Oberalp and Furka are three of the most spectacular mountain passes in Europe. And the new Holiday Village Andermatt Reuss is the perfect base from which to explore them, discovers Emma Love

Anyone who has watched the car chase scene in the James Bond film Goldfinger will be familiar with the Furka Pass. As Sean Connery sped round the hairpin bends of one of Switzerland’s oldest passes in his Aston Martin DB5, surrounded by dramatic mountains on one side and the Rhône glacier on the other, it wasn’t just the slick driving that gripped viewers attention but the stunning Alpine landscape, too. One of Andermatt’s ‘big three’ passes – the other two are the St Gotthard Pass and the Oberalp Pass – the Furka is a must for any thrill-seeking adventurers looking to explore the Swiss Alps, whether in a classic car (albeit at a more leisurely pace than Bond) or on two wheels.

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Mike Cotty, who specialises in endurance cycling and is behind The Col Collective, an online resource for cyclists wanting to tackle the world’s greatest mountain passes, believes that these are some of the greatest peaks in Europe for mountain bikers. He recently set himself a 105km cycling challenge that featured a trio of three of the toughest climbs in Europe: Furka, Nufenen and St Gotthard (Furka alone has an average 7.3 per cent gradient and an altitude of 2436m). “The way the peaks are positioned in this area makes it an exciting prospect to link up two or three mountains in a loop like this,” says Cotty, who also hosts cycling tours around the world. “With three mountain passes above 2,000m elevation, the sheer amount of climbing is what makes this route a toughie and on a par with some of the premier mountain stages of the Tour de France.”

To this end, he advises any cyclists thinking of tackling the route to have some mountain experience. His highlight, he says, was summitting the Furka and seeing the valley ahead. “The road to the Grimsel Pass looks like it snakes off to heaven, which is pretty surreal, as are the cobblestones of the old Tremola Road at the end of the ride. How the road was built all those years ago, and the history that has gone before it, is hard to comprehend. It’s a very special place.” Unsurprisingly perhaps, the Furka Pass is included on the Ultimate Drives ‘Greatest Driving Roads’ app (it’s described as “a stunning pass, with an amazing combination of sweepers, tight switchbacks, dramatic views and a drag straight at the end”), which was launched last year by Mark Heather.

Andermatt’s new Apartment House Alpenrose

Heather is also behind Ultimate Drives, a Zurich-based company that rents sports cars and supercars, and provides personally tested driving tour itineraries. “The Furka is so dramatic because it’s a mountain road that is driven entirely above the tree line. For most people, they never get this high unless they are skiing, and then the valleys are covered in snow. These lunar like landscapes are something really special,” he says, adding that these are the roads that cars such as a Porsche 911 4S Cabriolet or Mercedes AMG Roadster were designed to be driven on: “Smooth tarmac and sweeping corners, combined with the most dramatic, jaw-dropping backgrounds of the peaks of the Alps. Add to this the soundtrack of a V8 engine reverberating off the valley walls, and the stunning performance and handling of these cars, and it’s really something you have to experience to believe.”

Read more: Is the Waldhaus Sils the most spiritual hotel in the Alps?

Someone else who has vast experience of these roads is Jan Baedeker, Editor-in-Chief of Classic Driver magazine and editor of several books on the subject, including Porsche Drive: 15 Passes in 4 Days. “The diversity of this region is just incredible. In just one day behind the wheel, or a couple of days on your bicycle, you can experience some of the world’s most exciting roads through breathtaking landscapes,” he says. He advises anyone thinking of driving here to start early to avoid the crowds. “The Gotthard Pass is one of the most dramatic and important historic alpine crossings and it’s still my favourite pass in Switzerland.”

Whether you’re behind the wheel of a classic car, on a mountain bike or a Harley Davidson, experiencing these legendary Alpine passes is a Swiss summer must.

A new luxury base for exploring the three big passes in the heart of Switzerland

When it is completed this winter, the latest addition to Andermatt’s Piazza Gottardo, Apartment House Alpenrose, will have 20 exclusive apartments. The exterior matches the architectural style of the Holiday Village Andermatt Reuss; inside the apartments range from those with one- to three-bedroom maisonettes (the largest are 146sq m, but for anyone wanting even more space, two flats can be converted into a single unit on request).

Apartment interiors can be bespoke fitted

The joy of the design is that each one can be customised; buyers can choose from two looks (‘modern rustic’ and ‘modern light’) or opt for a bespoke build-out. Most of the apartments come with a corner picture window looking out onto the mountains while all the rooftop maisonettes have their own sauna. Other benefits include use of the fitness studio, spa and swimming pool in the nearby Radisson Blu hotel, and an excellent concierge service which can help with anything from travel plans to stocking the fridge and car hire, making Apartment House Alpenrose an ideal all-year holiday base. And non-Swiss nationals need not worry about the real estate purchasing laws. Andermatt Swiss Alps is exempt, so international buyers can purchase here without special permits (and sell with no minimum holding time).

For more information visit andermatt-swissalps.ch or andermatt-alpenrose.ch

LVMH’s Delphine Arnault with Karl Lagerfeld at the LVMH Prize 2018 cocktail reception ©François GOIZE

The LVMH prize is the most prestigious and desirable award for any emerging designer. Lauren Cochrane reports from Paris on the mix of established and new and the ideas bubbling around a competition aimed at discovering the next John Galliano or Alexander McQueen

This spring, as Paris Fashion Week swirled around them, some of the industry’s highest profile names – JW Anderson, Nicolas Ghesquière, Maria Grazia Chiuri, Bella Hadid, Suzy Menkes and Karl Lagerfeld included – found a moment in their busy diaries. The reason? The shortlisting of the LVMH Prize. Over two days, with LVMH’s Delphine Arnault, fashion’s brightest and best whittled a shortlist of 20 semi-finalists down to just nine. After an additional round of judging, the final winner is announced in June.

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In the four short years since its launch, the LVMH Prize has become the most prestigious in fashion. Each winner is given a grant of 300,000 euros and access to mentoring from LVMH experts to develop their business. Winners so far have included minimalist Thomas Tait and Grace Wales Bonner, the visionary of London’s menswear scene. Simon Porte Jacquemus, a designer mooted for the top job at Lanvin, was a special prize winner in 2015. Marine Serre, 2017’s winner, has already caused a stir. After her debut show in March, the New York Times said she had come “far, fast”, while Vogue called her collection “terrific”.

Designer Snow Xue Gao with model ©François GOIZE

Of course, fashion insiders will take note of anything that comes with the LVMH name attached. With Bernard Arnault at the head, it is the biggest luxury group in the world, taking in a record 42.6 billion euros in 2017 across brands including Louis Vuitton, Christian Dior and Givenchy. The impact of LVMH’s endorsement and mentoring (not to mention that cash injection) on a young designer’s career cannot be underestimated. Serre, speaking to Vogue, said what the win meant: “It was possible for us to really take things to a whole new level”, allowing her to hire new staff and expand into a new studio space. Marta Marques and Paulo Almeida echo this. “We suddenly had the exposure, the support and the funding to put into existence a lot of the things we always wanted to do, and grow the company,” they said in an email. “This is what the foundations of our label is built on and what the company is today.” Winning the LVMH Prize can turn a fledgling operation into a bona fide brand.

Read more: We ask artist Mouna Rebeiz about trash and beauty

Jean-Paul Claverie, advisor to Bernard Arnault, was instrumental in setting up the Prize in 2014 and he sits on the jury. The Director of Corporate Sponsorship at LVMH, he describes the prize as a way for “young designers to value creativity first”. LVMH are committed to that pledge. Designers are only eligible if they have shown two collections or fewer, and there is an in-house team that works specifically on the prize, selecting the final 20 designers who go before the jury. Relationships continue beyond the competition process, too. “We stay in touch with many of the winners and we are ready to help if they have a problem,” says Claverie. “The door is always open.”

Menswear designer Charles Jeffrey ©François GOIZE

Each year the number of applications has grown, with 1,300 in 2018, including designers from South Korea, China and countries in Africa. Among the 20 semi-finalists there was A Cold Wall, the London-based label by Samuel Ross, New York’s Eckhaus Latta, who put a pregnant woman on their catwalk in September, Charles Jeffrey’s artistic take on menswear and five gender-neutral labels including Faustine Steinmetz, GMBH and The Sirius. Of these, Ross, Jeffrey and Eckhaus Latta made it into the final nine, alongside Rushemy Botter and Lisi Herrebrugh of Botter, Masayuki Ino of Doublet, Lea Dickely and Hung La of Kwaidan Editions, Rok Hwang of Rokh, Matthew Adams Dolan, and Ludovic de Saint Sernin.

Model Emily Ratajkowski at the LVMH Prize 2018 cocktail reception ©Virgile_Guinard

Delphine Arnault (right)
with Carine Roitfeld ©François GOIZE

Established figures in fashion always enjoy meeting the next generation. Jury member Sidney Toledano, chairman and CEO of the Fashion Group at LVMH, says that he was excited after listening to the designers’ presentations. “I was so amazed by the energy,” he says. “I felt it myself, and it was after a long day of shows. I saw how excited Karl [Lagerfeld] was. His antenna tells him they’re talented. I think he had fun.”

Of course, the Prize is not without its advantages for LVMH. It means they effectively have first dibs on the next generation of talent. Toledano believes this has been at the heart of the LVMH culture since Arnault became the majority share holder in 1989. “It’s something he repeats daily – he wants creativity and quality, with an evolution.”

Read more: The maker of Masseto hosts a private dinner for LUX readers

It’s clear the winner is chosen carefully, and with much debate. “At the start of the process, we think that one applicant will be the winner and then, later, it turns out to be someone else entirely,” says Claverie. “I love discussion,” adds Toledano. “I hope we have two or three potential winners and we don’t know what to do.”

Claverie says that business acumen is a plus, along with determination – he praises Jacquemus for applying again after his first unsuccessful attempt. Ultimately, it is vision that characterises a winner: “The creativity is first… they are expressing something new.” Toledano says this is a quest for the next names to know. “It is not a philanthropic project,” he explains. “All the brands we have are based on the success of a designer. It was Monsieur Dior as a designer who created the magic of the Dior name.” Toledano compares designers to pilots. “An engine is needed to sustain a big name,” he says. “OK, from time to time, if you stop the engine, the plane is so high you can continue flying, but if you are a top brand you need [someone] in the cockpit, providing the momentum.” The LVMH Prize? The most stylish take on aviation college there is. Time to watch the latest graduates take flight.

To meet this year’s finalists, and for further announcements visit lvmhprize.com

This article appears in the Summer 2018 issue of LUX, on sale now worldwide.

520 Park Avenue, under construction, seen from Central Park

Gennady Perepada is New York’s go-to real estate broker who curates lavish lifestyles for his elite, high-net worth clients. LUX Editor-at-Large Gauhar Kapparova finds out how he does it

Gennady Perepada

Two years ago luxury real estate broker Gennady Perepada organised a surprise on behalf of one of his clients. The man had bought a family holiday home in the Hamptons, without telling his wife. “I arranged a helicopter to take them for a ride along the coastline so she could see it from the sky. He said to her, ‘Do you like this house with the pool? Well it’s already yours’. When they landed, there was a limousine with champagne waiting to pick them up,” he recalls. “It was a very romantic presentation, a personal show of this amazing property.” Yet while this particular man went to impressive lengths to show off and celebrate his purchase, many of Perepada’s clients – foreign and American high net-worth investors, who, as a rule, have a portfolio of real estate around the world – don’t even view a million-dollar apartment in person before they buy (they see a video instead).

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“My clients don’t need to come to New York to make a deal. Our lawyers are experts in international investment,” says Perepada, who set up his company, One & Only Realty Inc, eight years ago with lawyer Edward Mermelstein and thinks nothing of flying between three continents in a week for meetings. “The problem for many clients is that often they don’t have enough time – and that’s what I can give them.” Which he does, not only by finding and securing the most exclusive properties in New York and Miami but also by offering a 24/7 concierge service where no request is seemingly too obscure. “For my clients, I take care of everything from A to Z. Everything,” he emphasises. “For one family from the Middle East, I sorted out medical insurance, kindergarten for the children, connecting the cable television channels in their apartment.”

520 Park Avenue overlooks Central Park as visualised in this render

He reels off other examples. A client with a daughter studying for an MBA at New York University for whom he found an apartment and arranged a housekeeper to fill up the fridge with food every week; another who needed knee surgery so he organised a private hospital and the best doctors; the morning he spent at a dealership test driving new cars for a client’s wife. His phone is never off, and he is constantly on call, all day and all night, as his clients attest.

It’s all a far cry from 1990 when Perepada immigrated to the US with his family from Ukraine and worked as a taxi driver and as a stall holder at a flea market to survive. Looking for a career, he chose real estate because of the buzz that comes with property. He began by selling regular apartments but soon realised that he needed to find his own niche – the real estate elite. “In real estate trading, create your own market and your own clientele, do what no one else has done,” he says.

Read more: Meet the Swarovski x Design Miami/ Designers of the Future

Fast forward to today and he has 18 members of staff, including two personal assistants, looking after the needs of around 30 clients at any one time (he is currently looking at the possibility of opening offices in Dubai and London). Between them, his employees speak Chinese, Russian, Korean, Arabic (among other languages) to support those clients who aren’t fluent in English, and he has relationships with key property developers in both New York and Miami. “I know every building, every developer, they call me when something new and unique comes on the market because they know I have the contacts with the high net-worth buyers,” he says. “I understand the mentality of my clients and I have lots of experience with what kind of property I need to deliver for them.”

Manhattan’s now super-desirable Upper West Side

Key to his success is always anticipating his clients’ needs before they know what they want themselves. “When my clients buy a property, before they’ve even thought about it, I’ve got a team of interior designers putting together proposals down to the tiniest details, such as electric blinds, paint colours and smart-home technology.” On top of this, he also looks after real estate management, which involves everything from collecting rent on a property to repairs and full-scale renovation.

Read more: A different kind of Alpine luxury at The Tschuggen Grand Hotel

If it sounds all-consuming, that’s because it is, but Perepada says he wouldn’t have his job any other way. “I love my job; I don’t like it, I love it. It gives me the opportunity to meet and communicate with very interesting and significant people from all over the world. My clients are normal people and they feel very comfortable with me, so they call me like a friend.” They often comment on his endless energy and enthusiasm, he says, and are so happy with the service he provides that they sometimes give him presents. “Last year, one lent me his yacht to enjoy so I spent a week during the summer in Monte Carlo.” In fact, he usually spends at least one month during the summer in the south of France, partly on holiday, partly networking.

Many clients are repeat business (his motto is “return to those who are trusted”), who enlist his services as much for the lifestyle he offers as the property he sells. “Call me, buy a nice apartment and after that I provide a luxury lifestyle,” he concludes. “Trust me and I will take care of everything.”

Find out more about Gennady Perepada’s properties and services: oneandonlyrealty.com

This article appears in the Summer 2018 issue of LUX, on sale now worldwide.

Moynat’s Artistic Director, Ramesh Nair

Ramesh Nair worked under Martin Margiela and Jean Paul Gaultier at Hermès until luxury titan Bernard Arnault came calling in 2011,with his personal brand Moynat. The artistic director of the Paris-based luggage house tells LUX why Paris is his inspiration – and why London is Moynat’s hot destination this year

LUX: What role does Paris play in your creative inspiration?
Ramesh Nair: Paris is the city I have lived in the longest at a single stretch and I still find it amazing, creatively speaking. Inspiration comes from many things big and small – simply living here, walking the streets, observing the buildings and the people. The juxtaposition of the old and the new, the quality of the light and the depth of the sky, the architecture (always look upwards while walking through the city). And the unmistakable Parisian style.

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Paris is a unique city where the past is always with us even as we live modern lives. For me, this is perfectly captured by I.M. Pei’s pyramid for the Louvre with its Cubist inspiration and its determinedly modern use of materials like steel and glass, the perfect counter-balance to the classical architecture of the Louvre itself.

This is the ideal I hold in my mind when I create modern bags or trunks for Moynat: to strike an equilibrium between heritage and modernity, between traditional craftsmanship and contemporary design.

LUX: What’s your favourite part of the city?
Ramesh Nair: Each district in Paris has its own unique personality and flavour. On the left bank, I have a soft spot for the Beaux Arts neighbourhood. Across the river from the Louvre, this is a warren of old streets steeped in history. The profusion of art galleries, specialised boutiques with unusual products, and the presence of the Beaux Arts school helps keep the neighbourhood youthful and avant-garde. The hotel where Oscar Wilde spent his last days is located here, too.

Moynat Breakfast Trunk for the chef Yannick Alléno

On the right bank, I like the area from Trinité to the Montmartre neighbourhoods. I like the mix of art galleries and artists’ studios, theatres and cabarets, small-scale industries like printers, right next to open-air markets. The Théâtre Réjane was set up in this neighbourhood in 1906 and still functions under the name Petit Théâtre de Paris. There is some remarkable modern architecture to discover, including Adolf Loos’s house for Tristan Tzara.

Mini Gabrielle bag by Moynat

LUX: Ever feel the urge to reconnect with nature, away from the big city?
Ramesh Nair: When I have the time, I prefer to drive out of town in search of greenery. Every year, I take a few weeks to explore different parts of France, to discover the diversity of natural beauty in this country, not to mention the wines of the different regions or terroirs.

LUX: Your inside track on Parisian cuisine?
Ramesh Nair: Since I am vegetarian, I often have to ask restaurants to accommodate my choice and I have had some lovely surprises. One of my favourite places in Paris is La Bauhinia at the Shangri-la where chef Christophe Moret impressed me not just with the quality of his organic, locally sourced vegetarian ingredients, but also with the way he elaborates his choices, and of course the exquisite cocktails.

Read more: Luxury Leaders interview with Guillaume Davin, CEO of Moynat

I am also very pleased that so many great chefs are embracing the idea of vegetarian cuisine, from Alain Ducasse at the Plaza Athénée to Thierry Marx at his restaurant Camelia in the Mandarin Oriental.

For me, the fusion of different types of cuisine is really the wave of the future, but it has to be done with a lot of respect for the culinary traditions of each culture. I think chef Atsushi Tanaka has elevated this to an art form at his restaurant AT.

A Moynat Cabotin bag

LUX: Is eating out all about the cuisine?
Ramesh Nair: Not at all, I am very sensitive to the authenticity of any experience. From a very simple, home-style environment to a Michelin-star restaurant, truthfulness to one’s vision and passion will always make itself felt. Apart from the ambiance and music, the quality of the service, the contact between guests and staff, the effort made to share what the experience is all about, these are elements that feed all the senses.

LUX: What’s your cultural life in Paris?
Ramesh Nair: My two great loves are art and music. I try and catch as many concerts as possible (blues, jazz, rock…) when work allows me. I like the acoustics of the Olympia and the Grand Rex. Smaller venues like New Morning and La Maroquinerie are great if you want a more intimate setting or to discover rising stars, plus great acoustic quality.

Paris has so many art museums and galleries that it is hard to pick even a few… plus the museums are often breathtaking on their own. At the moment there are two simultaneous exhibitions showcasing the oeuvre of Martin Margiela, whom I had the privilege of working with during my early years in Paris.

Read more from the Image Issue: Gaggenau – the art and architecture of appliances

LUX: Where does a Parisian designer like you shop for clothes?
Ramesh Nair: Mostly at Yohji Yamamoto for clothes. I am obsessed with trainers, of which I have a collection of limited editions and rare models.

LUX: You travel a lot on work, what is the first thing you do when you get home?
Ramesh Nair: Relaxing with my cat is the perfect antidote for jet lag.

Moynat picnic trunk for a bicycle

LUX: What would you recommend all visitors to Paris to do?
Ramesh Nair: Paris is a city meant to be explored on foot. So, walk along the Seine, explore the Ile Saint-Louis with its historic buildings and bridges. If you walk through the Louvre courtyard at night, you can see the art through the windows and it gives you a whole new perspective.

LUX: London was the first city outside of Paris to have a Moynat store – why was that?
Ramesh Nair: Moynat has had historic ties with London since the very founding of the House. In the mid-1800s, radical advances in the way people travelled and experienced the world made it possible for houses like Moynat to reach visitors from the UK and to make their innovations and quality known. This was one of the keys to the reputation and success of Moynat. So it was a natural decision for us to make London our first store outside of Paris.

The Mount Street store is one of my favourites, for its architecture, its luminosity and its distinctive character. We will soon have a second store on the ground floor of Selfridges, which will showcase our House in a different environment and to a different type of customer.

Discover Ramesh Nair’s designs at moynat.com

Gaggenau’s Vario cooling 400 Series appliances such as this wine climate cabinet are designed to be as much part of the architecture as they are functionally capable

Kitchens were once the utilitarian core of the house. Now, leading manufacturers of kitchen appliances are more about architecture and design than just practicality, meaning they can enhance a home’s aesthetic. Emma Love meets the designer of German high-end manufacturer Gaggenau to hear how life’s all about the experience, and how kitchens can be design statements in themselves

Increasingly, design-led kitchens are an extension of the architecture of the rest of the home. Here, we look at how appliances fit in.

Two years ago, at the Venice Architecture Biennale, Japanese designer Kengo Kuma created The Floating Kitchen, which consisted of a series of shelves with ceramic bowls and plates, urns and vases that he had found in the Chinese city of Chengdu. It was part of a satellite exhibition, the Kitchen Home Project, which imagined what our living environments could look like in the future (the exhibition also included a fully transparent kitchen by Dutch studio MVRDV). And while this crystal-ball creative thinking is certainly a world away from manufacturers such as Gaggenau, whose global success is built on technological advances and an architecturally inspired design language, it does demonstrate that our notion of what a kitchen looks like is changing in all kinds of ways, from the kitchen utensils we use to the plates we serve our food on and to appliances.

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In the past few years, for instance, there has been a growing interest in knives made by specialist craftsmen. The Japanese Knife Company, which has stores in London, Paris and Stockholm, sells traditional handmade Japanese knives to chefs and home cooks. Equally, more and more chefs are commissioning ceramicists to make tableware for their restaurants, a trend which is also reflected in non-professional kitchens. And when it comes to appliances, gone are the days when refrigerators and freezers were an ugly but necessary addition to an otherwise beautifully designed kitchen.

Now, appliances are increasingly made to reflect the overall aesthetic of the room and the wider home – all clean sculptural lines that blend seamlessly with the rest of the cabinets and furniture – while still setting new standards in terms of function. In other words, the appliances themselves are a crucial part of creating a visually pleasing kitchen landscape.

“People want their kitchens to be both a purposeful and a beautiful space whilst being a seamless extension of the architecture of their home,” says interior designer Natalia Miyar. “The kitchens in our projects are always designed in context of the wider architecture of the home, often with clean silhouettes, grounded by strong, classical materials like stone and softened by interesting textures and warm metals. It is important that a kitchen is designed not as solely a utilitarian space but also to have a warmth and a relaxed feel.”

This, of course, includes the design of appliances, which Miyar says is key: “It is important that these elements tie the design together and do not jar with the rest of the scheme. There are more and more design-led functional appliances on the market but I also like to design joinery which conceals larger pieces and provides a further tailor-made aspect to the design.’

One such manufacturer leading the way with design-led functional appliances is Gaggenau, whose Vario 400 series is the first modular system of fully integrated refrigeration products that can be combined to form a cooling wall. Comprising a series of statement handleless pieces, the idea of the system is that it shifts the image of refrigerators and freezers from purely professional appliances to elegant design objects. In part this is achieved through the highest levels of craftsmanship but it is also down to the considered choice of materials (think dark anthracite aluminium, oak-wood and glass doors) and techniques used (the finer glass-bead blasting of the aluminium parts), all of which results in a super-sleek tone.

Read more from the Image Issue: Global entrepreneur Johnny Hon on promoting global exchange

“This new range for Gaggenau is the very essence of refinement in the luxury kitchen appliance market,” says head of design Sven Baacke. “We see extraordinary interior aesthetics as something that should be seen in all spheres of life, including the kitchen. Staged beautifully and with perfect illumination, you are no longer simply storing wine or refrigerating, you are making a statement.” And these days it seems that this architectural statement doesn’t end with the right placement of the cooking island or the finish on the worktops – it encompasses everything else in the kitchen too.

Gaggenau designer Lars Dinter takes inspiration from architecture

We talk to Gaggenau designer Lars Dinter about the architectural influences behind the Vario cooling 400 series.

LUX: How was the new Vario 400 series inspired by architecture?
Lars Dinter: It’s not inspired by any particular style but I’m always very interested in what’s happening in architecture in general. It’s higher than art in a way because it’s a big responsibility and architects create works that last for a very long time compared to product design, for instance. I’m always drawn to contemporary Belgian architects such as Vincent Van Duysen, Marc Merckx and CAAN Architecten. Their style is very minimalist but uses natural materials and textures so buildings still feel warm. One of my big idols is Piero Lissoni. He is a product designer who does lots of interior design and again he has a minimalist style but it’s combined with an Italian elegance.

LUX: Gaggenau regularly consults chefs, sommeliers, interior designers and architects. Did this effect the design of the 400 series?
Lars Dinter: Interior designers and architects often tell us that they wish the products would integrate better into dining rooms and kitchen. The input from sommeliers includes the fact that the LED lights that we’re using need to be free of infrared and ultra-violet wave lengths to make sure that we’re not harming the wine during long-term storage and that we need specialist storage solutions such as humidity controls for storing vegetables and fruit as people are eating more of these and less meat these days.

Read more: Geoffrey Kent on Millennials and transformational travel

LUX: What affects your choice of materials and how do you make them become part of the architecture?
Lars Dinter: It’s as much about the shapes as it is about the materials so we’ve tried to make the overall appearance of the appliances cleaner and more contemporary. With the materials, we have changed from a stainless steel anodising process to anthracite aluminium for components such as the support brackets for the glass shelves (the cavity is still clad in stainless steel). We’re using this to give the appliances a warmer, more elegant feel which we think will also integrate better into the architecture. We want the same warm atmosphere and emotional appeal to our appliances as there is elsewhere in the home without losing that powerful technical performance.

LUX: What technological advances can we see in this series?
Lars Dinter: The most important technical advancement is our opening-assist system for the doors which enables customers to have cabinet fronts without interruptions. In the past there have been handle-less kitchens but the refrigerator and freezer has always still had handles. As far as we know our opening-assist system offers the first fully complete handle-less kitchen – appliances included. You can use the system as a push-to-open device in a handle-less kitchen but it also has a second setting so if you have a more traditional kitchen and still want handles, the same mechanism can be used to support opening heavy doors.

Gaggenau designer Lars Dinter combines shape and material to create elegant solutions which match form and function

LUX: Tell us about the design of the wine climate cabinet.
Lars Dinter: We are using oak-wood because it has a warm colour, a good grain and fits in with our approach to authentic materials. We have also added new accessories including a serving tray and a bottle presenter. These also feature anthracite aluminium and oak, so they are finely aligned with the rest of the products. With these accessories, we are trying to add more quality and appeal to the pieces. We are trying to make a big step towards becoming more appealing on an emotional level.

LUX: Do you think that kitchens are increasingly seen as architectural spaces?
Lars Dinter: There are no boundaries anymore. Kitchen, living and dining spaces are all merging together in one big living space and our new line-up of kitchen appliances fit into this way of living. Traditionally, a kitchen might have an island or cabinets with an oven or coffee machine and the appliances are integrated into this. We are enabling customers to have a transitional zone with a cabinet wall that has wooden panelling on the front with no hint what is hidden behind. The appliances could be hidden into these cabinets. With connecting rooms, a nice solution is to take the same architectural aesthetic throughout so the wine cooling units for example, could stand in the background of your dining room. After dinner, you can set the lights so they give off a little glow and become part of the mood of the space.

gaggenau.com/gb/

Dr Johnny Hon

Johnny Hon, founder of venture capital and investment company Global Group, is on a mission to lower cultural and trade barriers between east and west to encourage commerce, charity and cultural exchange. The entrepreneur and philanthropist, based in London and Hong Kong, speaks to LUX Editor-at-Large Gauhar Kapparova

LUX Editor-at-Large, Gauhar
Kapparova

LUX: The Global Group seems to have diverse interests and ambitious plans.
Johnny Hon: I founded the Global Group in 1997 whilst completing my PhD at Cambridge University. It has since grown to become a leading venture capital, investment and strategic consultancy with offices in London and Hong Kong. Over the past 20 years, the Global Group has evolved from financing high-yield technology companies to expand into private equity, angel investment and financial services. The company’s diverse interests and areas of expertise range from fine art to FinTech, biotechnology to entertainment and leisure. The future of the Global Group is exciting – we’re a rapidly growing company that responds to opportunities, rather than limiting ourselves to specific sectors. We are always looking for exciting, interesting opportunities, whether that’s a start-up in the UK or supporting the growing appetite for excellent quality wine in China.

LUX: You catalyse and facilitate trade between Europe and China. This seems to be important to you at what must be an essential time to be doing it.
Johnny Hon: We live in an increasingly global era and this is changing the face of modern business. The Global Group has always worked with European companies looking to enter the Asian market, as well as Chinese clients and high net-worth individuals with aspirations in the European market. I believe now, more than ever, it’s essential to encourage trade and mutual engagement between Europe and China and in particular to usher in a new golden era of Sino-UK relations.

In my opinion Brexit can open up vast potential as it will provide overseas investors with more opportunities than ever to enter the market. We have our European office in London, and I think it will always be the financial heart of Europe. I encourage Chinese clients to invest in the UK’s businesses and future, and vice versa, and feel optimistic about the future of global business.

Johnny Hon at the charity première of the stage show 42nd Steet with HRH The Duchess of Cambridge

LUX: You have a broad portfolio of business, philanthropic and diplomatic interests. Please tell us more – it seems you are in effect an ambassador between east and west at a very high level?
Johnny Hon: The main mission of the Global Group is, as our motto says, ‘Bridging the New Frontiers’. We work to remove barriers between the East and the West, and I am passionate about reflecting this in my personal and business interests.

I am British-educated but was born in Hong Kong, and I’m deeply proud of my roots and Chinese heritage. I have always felt like I represent both cultures and I have tried hard to act as an ambassador – a gateway – ever since I set up my company. The Global Group challenges expectations and concerns about doing business in China, and I also embody this role in my diplomatic work.

I am the Honorary Consul for Grenada in Hong Kong and the country’s Ambassador-at-Large. I take huge pride in the private consultancy and advisory work I do with state leaders, prime ministers and presidents from countries around the world.

Johnny Hon’s broad range of philanthropic and diplomatic work includes charitable fund raising

Philanthropy is a vital part of my work and an endless source of motivation and inspiration for the Global Group. One position that fills me with particular pride is my role as the first ever Diamond Benefactor of the Duke of Edinburgh’s International Award. I am responsible for growing the scheme throughout the AsiaPacific region and introducing Chinese students and young people to such exciting life skills as teamwork, enterprise and leadership.

I’m also a Founder Benefactor of London based think tank Asia House and Vice President of the 48 Group Club, which works to raise awareness of Chinese business and innovation in the UK and promote positive relations between the two countries.

In all areas of my life – business, diplomacy, philanthropy and personal – I take great pride and pleasure in my ambassadorial role.

LUX: Does the West have much to learn from China, and vice versa?
Johnny Hon: We can all learn and benefit from a global outlook. China is now a hub of technological advancements and entrepreneurial spirit. The West can learn from its productivity levels, dedication to innovation and broad acceptance of technology, especially regarding the fourth industrial revolution.

The West, and the UK in particular, is inspiring in the approach it takes to investing in future talent and it is the home of some of the world’s greatest educational institutions. It is also an outstanding provider of services, especially in the financial and legal sectors.

From East to West, I am passionate about education and how it is already changing the business landscape. Right now, over 300 million people in China are learning English and the UK has the world’s second largest population of Chinese students studying overseas. I think we should all look to China and how it is encouraging, supporting and inspiring a global outlook for the next generation.

LUX: Tell us more about your philanthropy and your plans in that area.
Johnny Hon: Philanthropy and social responsibility is at the core of the Global Group. It bolsters my sense of purpose and motivates me to work even harder.

I have always wanted to give back. When I was reading for my PhD at Cambridge, I realised that I would be able to have more impact as a businessman than a doctor, and this started my philanthropic career.

Amongst many philanthropic roles, Johnny Hon is the Vice President of the 48 Group Club

We’ve now donated to over 160 charities worldwide and my projects have ranged from setting up Oxford and Cambridge University scholarship schemes to sponsoring the first London production of the China National Beijing Opera Company at Sadler’s Wells through the Hon Foundation for Music and the Performing Arts.

It is particularly rewarding to be able to combine my passion for the arts with my interests in raising awareness of Eastern culture in the UK, supporting the Global Group’s mission to bridge the gap between the East and West.

LUX: Please tell us about other areas you are developing in your business that are exciting you right now.
Johnny Hon: Sitting at the helm of a rapidly expanding company that is growing in numbers, clients, countries of operation, and team members, is hugely exciting in itself.

Looking at investment opportunities and areas, right now, there is a fascinating trend for Chinese investors to look to British heritage companies. China has a growing consumer society with an increased disposable income and appetite for British luxury goods such as whisky and smoked salmon. There’s a huge market there for UK companies to work with China, and vice versa, to develop this and other opportunities.

This year, we are building on the sustainable side of the Global Group, with a focus on our shared global future. We are focusing on technology that sets out to tackle challenges posed by issues such as population growth and its environmental impact, including green technology, agricultural technology and biotech, for example.

Investing in something that could improve life quality and expectancy means that I have the potential to make a real impact and change the lives of many millions of people for the better, which is both exciting and awe-inspiring.

johnnyhon.com