Geranium Head Chef, Co-owner, Rasmus Kofoed. Photo Credit Claes Bech-Poulsen

Rasmus Kofoed, star chef of three Michelin-starred Geranium in Copenhagen, is influencing an entire generation of young chefs to feel confident in offering haute cuisine based on strictly vegetarian principles. During the pandemic, he temporarily opened Angelika, a restaurant within Geranium, with a wholly plant-based menu.

LUX: After bronze and silver, how important was it to you to finally win the Bocuse d’Or?
Rasmus Kofoed: I did it because I wanted to win; that was the first priority. Winning was great, but I enjoyed the process leading up to the competition very much. You develop, you create new ideas, you optimise what you do. It was everything around the competition that I enjoyed.

LUX: What did you change between winning the bronze in 2005 and the gold in 2011?
RK: I think I was more confident with what I loved to cook and eat myself. It was totally based on Nordic and Danish ingredients, like wild forest garlic, elderflowers and lump fish roe. We had just opened Geranium at the same time as I won the competition and a lot of the elements that I made at Geranium I used in the competition, just combining them in a new way.

desserts at Geranium including milk chocolate and rose hip petals, and chocolate egg and pine

LUX: Having won the gold, and with a three Michelin-star restaurant, do you have any unfulfilled ambitions left?
RK: Not really. Of course, I enjoy achieving those prizes, and the motivation is very good for the team as well, but I enjoy the training. I also enjoy the days which focus on the work leading up to creating a great experience for the guests. I don’t think about the awards when I’m here. I think more about how we can optimise everything and how we can work better with the team, and create a better work–life balance. That’s the priority. If you’re happy, it’s easier to make others happy.

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LUX: What does a better work–life balance for the team look like?
RK: We just focus on it a bit more. We did not let anyone go because we wanted to keep them; they are a part of the future and we believe in them. Another thing is to try to balance all the working hours, eat a lot of vegetables. They also have gym memberships and that’s very important. It’s not a secret – if you feel good, it’s easier to make others feel good.

The dining room at Geranium

LUX: Do you think that vegetarian restaurants like Angelika will be the way forward, given the climate crisis and the pressure to reduce meat?
RK: I think so, and that’s why I opened Angelika. It was a year ago and I could not just go back and open Geranium like we normally did. I felt that, after the first lockdown, we needed to do something different. I’d been on a plant-based diet for the last year and a half, so I was very much into that way of cooking, which is not easy, but when you can do it, it just feels good. I also wanted to pass on my love and care for the planet, and health, to other people. That’s why we opened Angelika: to inspire people to eat more vegetables.

LUX: How has your relationship with sustainability evolved over the years?
RK: I live in the countryside, so I am very close to the forest and to the sea, the ocean and nature, which I really enjoy. It’s very peaceful to go out there and I think it’s something we all need to do sometimes.

I focus a lot more on it at home, but it’s something we care a lot about at Geranium. You can always be better, but we use a lot of biodynamically farmed vegetables, and in that way of farming you give good energy and vitamins back to the soil, not just take them out, and that’s a good mentality, to treat Mother Earth with respect.

Crispy Jerusalem artichoke leaves and pickled walnut leaves

LUX: Where did your love of working with vegetables stem from?
RK: I was raised eating biodynamic vegetables because my mother was vegetarian and she wanted to give the best and healthiest food to her kids. It’s something I’ve been using for a long time, not because it’s trendy, or for PR. I do it because I care and think it’s important to look after the planet. At Angelika, the idea was very much ‘from kitchen to table’, not spending a lot of time plating. At first, it was difficult for the chefs, because they’re used to working with tweezers and taking their time, but you need to be faster, otherwise you lose the energy in the food.

Grilled lobster, elderflower and dried onion

LUX: How did the pandemic affect you professionally?
RK: If it wasn’t for the pandemic, we would have never opened Angelika. It was because of the lockdown that I was saying that we need to open a plant-based restaurant. Since I was on a plant-based diet myself, I wanted to show people that plant-based cooking can be delicious and healthy at the same time, and that you can actually have a great meal, and feel good in your body after. A lot of horrible things happened because of the lockdowns and the coronavirus, but Angelika was this green shoot growing out of the dark times.

Read more: Chef Clare Smyth: Core Célèbre

LUX: What legacy do you hope to leave on the culinary world?
RK: I do it because I love my craft. I love to be in the kitchen, with the energy, the flavours. I love creating new ideas, new ways to serving things. I enjoy cooking delicious food, but I also enjoy eating something which is good for my spirit, my body. As the ancient Greeks said: “Food should be your medicine, and let the medicine be your food.” I love to inspire with my love for the green kitchen.

Rasmus Kofoed is head chef and co-owner of Geranium in Copenhagen. Angelika is temporarily opening on special dates.

geranium.dk

This article appears in the Summer 2022 issue of LUX

von Bartha’s flagship gallery behind a gas station in Basel. Photo by Ben Koechlin.

Stefan von Bartha. Photo by Simon Schwyzer

Swiss gallery von Bartha recently announced the opening of a new space in Copenhagen, becoming the first international gallery to lay down roots in the city. Here, LUX speaks to Stefan von Bartha, the gallery’s director, about von Bartha’s future, the impacts of the pandemic and the return of Art Basel

1. The Copenhagen gallery will be von Bartha’s first location outside of Switzerland. Why now?

One of the more positive aspects of the pandemic was the fact that we had the time to really think about and discuss the future of the gallery in depth. It became very clear that our physical gallery space was the core part of our operation that we can always rely on. During that time, when travelling and art fairs were not an option, it was the only place where we were able to show art and meet with our collectors.

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While we hope that we never find ourselves in this situation again, we have been fortunate in that we have been able to build a closer and more personal connection with our collectors which is very valuable. Copenhagen has always been one of my favourite cities and we are excited to be the first international gallery to open a space there. Being able to open and connect with new audiences and collectors is very much in line with the future direction of the gallery.

2.  Do you think things are shifting in terms of the city’s presence in the global art world?

A city like Copenhagen fits the profile of von Bartha with our primary space being in Basel and from my perspective, I think the more typical ‘gallery centric’ cities are facing more and more issues. I do believe that Copenhagen’s art scene will see a lot of growth over the next few years.

3. Why do you think there has been a recent increase in galleries opening spaces in unusual settings? Your Copenhagen gallery, for example, will be located in a former lighthouse.

I think there is a sense of fatigue with the more ‘typical’ gallery spaces. When we opened our new headquarters in Basel behind the gas station, everyone loved the concept, and we received a lot of positive feedback. So, a lighthouse makes total sense for us!

Record, 1994 by Barry Flanagan will on be display at von Bartha’s booth at Art Basel. Courtesy von Bartha and the artist. Photo by Andreas Zimmermann

4. Aside from digital exhibitions, how else did the restrictions of the pandemic alter the gallery’s structures?

I think the biggest change has been increased personal contact our collectors. Everyone had access to time, which is rare these days! We were able to speak with our artists and collectors at length and without the sense of being rushed.

Read more: Culture & Cuisine at La Fiermontina, Puglia, Italy

5. Are there any artists or art world developments that are particularly exciting you at the moment?

Opening a new gallery space in Copenhagen is exciting enough for me!

6. What can we expect from von Bartha’s presentation at this year’s edition of Art Basel?

In general, I think we can expect one of the strongest and most exciting Art Basel fairs ever. All galleries will bring their best works as it is the first major fair to take place in two years. von Bartha will present a really exciting mix of leading contemporary artists in the gallery’s programme including Marina Adams, Imi Knoebel, Superflex, and Claudia Wieser alongside a selection of work by artists including Barry Flanagan, Jean Arp and Sophie Taeuber-Arp, encouraging a thought-provoking discourse between contemporary and historical. The presentation will be complemented by a strong programme across the city including our collaboration on the opening of Imi Bar, a new permanent bar at the Volkshaus Basel Hotel, featuring artwork by German artist Imi Knoebel and at our flagship Basel space, we will be showing two exhibitions by Chilean-Swiss artist Francisco Sierra and Swiss artist Beat Zoderer (on view until 23 October 2021).

Find out more: vonbartha.com

‘Big Bang Fountain’ (2014) by Olafur Eliasson

The Icelandic artist Olafur Eliasson famously brought the sun to Tate Modern. He is now returning for a major retrospective this summer. He talks art, cuisine, and slumber with Christopher Kanal

Olafur Eliasson

“I am incredibly happy about the whole thing,” Olafur Eliasson explains of the major retrospective of his work at Tate Modern in London that opens in July 2019. With ‘Olafur Eliasson: In real life’, the revered Danish- Icelandic artist returns to Tate 16 years after his ground-breaking The Weather Project famously filled the gallery’s Turbine Hall with the illusion of a sunset that was as eerie as it was sublime. Hazy memories of basking in the dazzling surreal sunlight mask the fact that The Weather Project has been one of the most critically acclaimed art installations so far this century and was experienced by over two million people.

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“We were lucky to warm up with the iceberg project,” Eliasson says with a gentle laugh. In December 2018 Eliasson staged a feat that could have come straight out of an Icelandic saga, but which had a very contemporary and urgent environmental message. The Scandinavian artist hauled centuries-old icebergs from Greenland to the banks of the river Thames to demonstrate the effects of climate change. Twenty-four icebergs, originally from the Nuup Kangerlua fjord in south-western Greenland, and weighing up to six tonnes each, were placed in a circle outside Tate Modern and another six were put on display in the City of London as part of Ice Watch, a collaboration with award-winning Greenlandic geologist Minik Rosing. People gawped at, touched and even tasted the ice. “I’ve been studying behavioural psychology, and looking into the consequences of experience,” says the artist. “What does it mean to experience something? Does it change you or not change you?” When Ice Watch London debuted, Eliasson and Rosing pointed out the sobering statistic that 10,000 blocks of ice such as these are falling from the ice sheet every single second.

‘Beauty’ (1993) at the Moderna Museet, Stockholm, 2015

‘Ice Watch’ (2018) by Eliasson and Minik Rosing, outside Tate Modern, London

Of course, Eliasson is not just celebrated for The Weather Project and icebergs. His varied works span not just temporary public art projects such as The New York City Waterfalls (2008) and large civic projects, such as the design of the façade of the Harpa concert hall and conference centre in Reykjavík (2013), but also small art projects and social enterprise endeavours. For Glacial Currents (2018) Eliasson created a group of watercolours produced using ancient glacial ice fished from the sea off Greenland. The ice was placed atop thin washes of colour on paper. As the ice gradually melted it displaced the pigment to produce extraordinary shades.

The studio’s Little Sun project, meanwhile, provides clean, affordable solar energy and light through a simply designed LED solar-powered lamp. “It brought me back to being a student,” he says of envisaging the design. “This is of course the greatest thing that you are not in fact getting older but you are getting younger.” The Little Sun lamp, which was launched in 2012, produces up to five hours of bright light. Over half a million lamps have been distributed to off-grid communities in 10 African countries.

Read more: Why you should be checking into L’Andana in Tuscany this month

The prolific 52-year-old artist is also an avowed foodie. So much so, that his Berlin studio has a professional kitchen run by his younger sister Victoria Eliasdottir. “This experimental kitchen is very much part of the life of the studio where dining together and sharing ideas has become enormously important for us,” he says. “The food in the studio is more family style where we put the pots on the table and we eat out of them,” he says, adding, “It’s not French service.” In late summer 2018, the siblings opened Studio Olafur Eliasson (SOE) Kitchen 101, a temporary restaurant/gallery by Reykjavík’s harbour and it became a hugely popular hangout. “Really great food always has a frictional element because it reminds you of all the not-so-great food you have eaten,” Eliasson says. “Good food is always on a trajectory and a journey. A great cook shapes a taste just as an artist shapes a sculpture. In that way great cooking is a very sensual, alchemic activity.”

Façade of Harpa Reykjavík Concert Hall and Conference Centre (2005–11)

Eliasson’s studio is in a former brewery and chocolate factory in Prenzlauer Berg in Berlin, an area that was once part of the city’s Soviet Sector during the days of the German Democratic Republic and a haunt of intellectuals, artists and East Germany’s gay community. Eliasson splits his time between Berlin and Copenhagen, where his art historian wife, Marianne Krogh Jensen lives with the two children they adopted from Ethiopia. The huge four-storey studio is home to a collective of around 80 artists, architects, engineers, developers and researchers. Each floor is a distinct hive of creative activity. Eliasson is certainly not the first artist to run a collective. Andy Warhol’s Factory in New York springs to mind, but Eliasson and his studio work very much as a collaborative team – he likes to call it ‘The Lab’. He is, however, no ringmaster: “I have always insisted on an open and transparent studio. There is no mystical, magical authenticity idea in keeping me as a kind of mythical figure.”

One of Eliasson’s most celebrated designs involved a collaboration with Copenhagen- based architectural firm Henning Larsen and Icelandic studio Batteríið Architects. Inspired by basalt crystals found in the geology of the dramatic Icelandic landscape, Eliasson’s glass façade design for the Harpa concert hall in Reykjavík scattered reflections of the surrounding harbour, the fluid sky above and the looming Mount Esja across the bay. By night Harpa is a glittering spectacle of light. The building is in a constant flux of visual metamorphosis, which constantly alters perceptions. No one minute is the same. “The object is not necessarily the most interesting part about art, says Eliasson. “It is what the object does to me when I look at it or engage in it that is actually interesting. You are somehow provoked into a more negotiating role because you think, ‘What am I looking at?’ Then you are also more likely to enquire, ‘Well, what does looking actually mean and why am I seeing things the way I see it?’”

‘Waterfall’ (2016) at the Palace of Versailles

Eliasson was born in Copenhagen but returned often to Iceland after his parents separated when he was eight. His father was a cook on fishing boats as well as an artist, his mother a seamstress. Growing up in Scandinavia, the varying light, storm winds, bible-black winter nights, crystalline ice and vibrant norðurljós (northern lights) all infused Eliasson’s imagination. During the long summer holidays of his youth, Eliasson returned to Iceland to spend time with his parents and grandparents. The Icelandic landscape has been a lasting source of inspiration to him, particularly in its unique power to challenge how as an artist you interpret place and space through its beautiful yet unfamiliar and primal character. Eliasson tells me he likes to sit in his Reykjavík studio for inspiration because of the extraordinary quality of light in Iceland due to the island’s high latitude. As a boy he recalls that during the oil crisis of the 1970s, the Icelandic government used to switch the power off at 8pm to save energy, announcing the blackout by ringing the church bells. Eliasson fondly remembers the long, haunting twilights of dense colours and long shadows that were the only source of light.

‘Umschreibung’ (2004) at KPMG Deutsche Treuhand-Gesellschaft, Munich

At 15 Eliasson had his first solo show, of landscape drawings in Denmark. “My father was an artist who influenced me and both my mother and him were more focused on me feeling successful with what I did,” he reflects. “When I did crazy doodles, they would say, ‘This is a great drawing’ instead of ‘This is not a house’. My father would say, ‘Why don’t you just fill in the blanks and it may end up being a dog or cat?’ I realise now that this was not so bad because it gave me the confidence that something abstract actually had the potential of becoming meaningful. This is something I have carried throughout my life.” After studying at the Royal Danish Academy of Fine Arts, Eliasson moved to New York and worked for the Canadian minimalist artist Christian Eckart in Brooklyn. In the mid 1990s, he moved to Berlin, then a new cultural frontier following the fall of the Wall.

Read more: 6 Questions with renowned British art collector Frank Cohen

During the financial crisis Eliasson had an idea that he could save the Icelandic economy by buying all the grey sheep running around the country. Grey sheep are less popular than black or white sheep with farmers as they are harder to spot in the autumn, when they are rounded up and brought down from high mountain pastures where the grey sheep are indistinguishable from the rocks and the ground. “As an idea, a grey sheep is indecisive, it is a making-your-mind-up-as-you-go kind of sheep,” he says, with a bit of mischief. Eliasson’s plan was to farm these sheep in the harsher northern fjords where they would graze on wild berries and grasses. “The southern sheep are generally grass-fed sheep fattened up like turkeys in Kentucky,” he points out. “The texture of the wilder sheep meat is a lot darker, like deer.” Eliasson reveals he envisaged making his own version of Icelandic blóðmör blood sausage but with a North African twist, adding dates, onions, raisins and truffle oil. “People thought I was insane,” he says. “I guess Icelanders are not so much into North African food considering the history of the Tyrkjaránið pirate raids by the Barbary corsairs on the Vestmannaeyjar [a small archipelago off the south coast of Iceland] in 1627. I realised that I had probably contributed to the financial crisis rather than saved it but I tell you this sausage was amazing!”

‘The Weather Project’ (2003) at Tate Modern, London.

Amongst the sketches, models and large collection of vintage light bulbs in Eliasson’s studio there is an archery target. For inspiration, the artist will often pick up a bow and shoot an arrow into it. A lucky bulls-eye indicates a ‘yes’. It reveals Eliasson’s particular approach to his work. “I love supporting the people around me who I believe in and trust,” he says. “I learn so much from them, so it is a nice exchange. It’s a great luxury to be working with chefs, scientists or politicians. As long as I don’t start to cook or make science. I get stressed when I boil an egg.”

Answering the call

“This is a kind of profession you end up in,” says 29-year-old Victoría Elíasdóttir, who Condé Nast Traveller hailed in 2016 as one of the ‘10 Young Chefs to Watch’. “I kind of did,” she adds but then adds, “No, I kind of didn’t.”

Born in Denmark but raised in Iceland from infancy, Elíasdóttir grew up with food. After travelling around South America in 2007, she returned to Iceland and went to college. “Society said that being a chef was bad for your body, it’s not family friendly, you drink a lot and do drugs,” she says. “I tried graphic design and psychology. I started all these things but I always ended up talking about food, talking to my classmates and teachers about what I cooked yesterday, what I was going to cook tomorrow. In the end one of my classmates said ‘Why don’t you just give in?’”

‘Your Spiral View’ (2002), installation view at Fondation Beyeler, Basel

Elíasdóttir went to chef school in Reykjavík and initially found it tough: “My initial experience of being a chef was not very encouraging. On the other hand, I have always been drawn to things that kick up the adrenaline in a way.” After graduation she worked as head chef in a small summer hotel in southern Iceland, an idyllic place by a lake filled with wild trout and which grew its own tomatoes and cucumbers. There followed a stint at Chez Panisse in California under the eyes of culinary visionary Alice Waters before ending up in Berlin and helping run her big brother’s studio kitchen.

In 2015 she opened Dottír, a temporary restaurant in Berlin’s Mitte that occupied a building that had been a Stasi surveillance centre. It was a hit, with inventive dishes such as beet-infused salmon served raw and North Sea cod with Jerusalem artichoke cake, creamy sauce and trout roe. “Beetroot has been something that has been with me from as early as I can remember,” Elíasdóttir enthuses. “When I was child my mother used to serve it to me on a piece of rye bread with liver paté.” She also has a fondness for lakkrís (liquorice) and uses it when she can.

Elíasdóttir also caters for high-end corporate events. She recently created a seven-course vegetarian menu for Mercedes-Benz. “Everyone was a bit sceptical but afterwards I had comments from these big men, used to lobster and meat dishes, saying, ‘I don’t feel like I missed anything!’”

Avoiding the tired New Nordic cuisine label, the heart of her cooking is avowedly rooted in Scandinavian gastronomy. Think simple fresh seafood, herbs and regional, seasonal produce. “We have great farmers here in Iceland,” explains Elíasdóttir.

Sci-fi by design

Acclaimed French director Claire Denis’s new film, the sci-fi drama High Life, boasts a spaceship designed by Olafur Eliasson. Denis, best known for her widely praised films including the existential Foreign Legion drama Beau Travail (1999) and avant-garde vampire story Trouble Every Day (2001), has made her first English language film also her first foray into science-fiction.

High Life stars Juliette Binoche and focuses on a group of miscreant astronauts on a mission to reach a black hole in search of an alternate energy source. Eliasson’s involvement is his first work for a feature film but his second collaboration with Denis – together they made short film Contact in 2014 that explored themes of black holes and abstraction. Denis and Eliasson’s mutual fascination for these phenomena is evident in High Life, a story that Denis has been nurturing for 15 years. High Life opens in spring 2019.

‘Olafur Eliasson: In real life’ is at Tate Modern, London from 11 July 2019 to 5 January 2020. For more information visit: tate.org.uk and olafureliasson.net

This article was originally published in the Summer 19 Issue.

The colourful buildings of Nyhavn

A young writer’s view on why Copenhagen makes such an impression; and her pick of six hip young Danes, talking about why their capital is the best city in the world. And, no, it’s not about the hygge

By Ella Johnson

Copenhagen is fast becoming the coolest Scandinavian kid on the block. A fashion hub and destination of culinary excellence, Denmark’s capital is making waves around the world. And at the centre of it all? Its youth.

Copenhagen has an undeniable sense of vitality; it is a place where young people can challenge ideals and rewrite the rules. And what’s more, everyone appears to be tall, slim and stylish. Yet their mutual winning of the genetic lottery is the only thing these natives share in common. Each person dresses exquisitely and uniquely, oozing an innate personal style. Earthy hues keep these otherworldly urbanites grounded, whilst androgynous silhouettes nod towards a progressive society. And what’s refreshing is that none can be seen tottering on sky-high stilettos or wielding impractical handbags – the Danes dress for themselves and comfort is key. (Hint: if it can’t be worn on a bicycle, don’t wear it.)

So what’s the driving force behind this unrivalled style and nonchalance? You would probably guess hygge, and you may be right, although this overused term doesn’t even begin to get there. My concept of hygge is much more than ‘cosiness’ and woolly jumpers – it underpins culture as a whole. Egalitarian by nature, Danish society is people-oriented. It has nurtured its youth and they are thriving; Copenhagen is full of inventive young people simply living in the moment. Whilst navigating the bustling streets no-one can be seen brusquely pushing through the crowds, urgently trying to get somewhere else. It has been said that the journey is as important as the destination, and in no other place has this phrase rung so true. The Copenhagen kids are the ones to watch. Don’t just take my word for it – they’re here to prove it.

Mathilde Topsøe

Mathlide Topsøe

Mathilde is a 21-year-old student at Copenhagen Business School and has been working as a model part time for 5 years.

Describe your generation.

The youth are characterised by their passion for whatever interests them.

What makes Copenhagen special?

Somehow, the city has managed to stay very local – the atmosphere here is really something. The different neighborhoods [Nørrebro, Central Copenhagen, Vesterbro and Frederiksberg] all contribute something unique, making the city fit for everyone. Copenhagen tends to steal people’s hearts – it has mine, anyway!

Where are your favourite places to go?

If you ever find yourself in Copenhagen, take a walk to St. Ann’s place, have a coffee at Union Kitchen and then walk to the Amalienborg Castle. In the summer hang out at Ofelia Beach with music, street food shops and ice cream. The Meatpacking District [Kødbyen] is also a cool area with lots of great restaurants. My favorite is Gorilla, which serves new Nordic food in small portions so that you can share and taste a little bit of everything.

Where do young people go out?

Chateau Motel and Arch are the best clubs in town, while Balthazar and Ruby’s make great cocktails. My favourite wine bar is Nebbiolo, where you can share a platter of Italian specialties with a good bottle of wine.

Are you a typical Copenhagener? 

I’m terrible at using my bicycle, which is very atypical! But I feel like a real Copenhagener on Sundays when all the shops are closed. The city is very quiet and all the people walking the streets are locals. That’s when I feel truly local.

Levino Tvarnø

21-year-old Levino lives on Amager, an island that forms part of the city, and works as a pub manager. He has always lived in Copenhagen and insists he will never leave.

Levino Tvarnø

What’s the best thing about Copenhagen?

The rugged beauty in its architecture. My favourite building is Vor Frelsers Kirke [a baroque church, famous for its helix spire with extensive views over the city centre] – I think of it as the Danish Eiffel Tower!

Where do young people like to hang out?

A lot of young people go out at the weekend to Christiania. It’s a free state in Copenhagen – organised crime at its best!

How important is fashion to Copenhageners?

It’s quite common not to care about fashion in Denmark – sometimes it’s cooler not to.

Denmark was voted number one in the World Happiness Report for the third time last year. Do you agree with this?

I don’t personally see us as very happy people. I’d say the Danish are quite cynical! No one talks to each other on the bus or at the supermarket – people conversation. But there’s no doubt I’ve had awesome experiences with strangers. If we got voted the happiest nation, I’m not complaining!

Karla Bak

Karla is 15 years old and attends a boarding school in Oure.

Karla Bak

What’s the best thing about Copenhagen?

The people. It’s a city that never sleeps! No matter what the time is, you’ll always see someone walking down the street.

Where do you hang out with your friends?

We like to be in the middle of everything – you’ll often find us at a café in the centre of Copenhagen on a street called Læderstræde. My absolute favourite is Café Zirup.

How would you describe your generation?

The Danish teenagers are quite wild. Our society is very relaxed – we can buy weak alcohol from 16, but we start drinking even earlier. We’re known as the teenagers who drink the most in Europe.

Do you think it’s a good thing that you can access alcohol from such a young age?

I do. Most teenagers here are very independent. We’ve grown up learning how to take care of ourselves.

What influences the way you dress?

I don’t care what people think of me. I dress to look good and to be the best version of myself, but if someone has a negative opinion about my clothes or me in general, I couldn’t care less.

What are your hopes for the future?

I’d really like to work with people – maybe those with social issues. My mother died a few months ago and she worked with a lot of different people in her life – prostitutes and drug-addicts, for example.

Celine Nyegaard

Celine is an 18-year-old student who lives in Vesterbrø. She has recently set up her own company, Valencia, selling T-shirts and hoodies using her own prints.

What inspired you to start your business?

I’ve always been a creative soul and couldn’t find a job in Copenhagen. I wanted to make some money and then I got the idea – there’s definitely a gap in the market for cool, simple t-shirts that aren’t as expensive as the big brands.

Celine Nyegaard

Is Copenhagen good for fashion?

In recent years it has definitely become more of a fashion hub. Fashion houses are popping up everywhere and there’s a great range of shops.

Where can you find the best food?

We have a market called Torvehallerne, which is like a big food court, where you can get all kinds of food. In Vesterbrøthere’s the Meatpacking District with great restaurants, too.

What’s your favourite thing about Copenhagen?

Whenever I walk through the centre, I almost always meet someone I know. It’s such a small place, but there are so many opportunities.

Anton Thiemke

Anton is 19 years old and in his final year at high school. He lives in central Copenhagen and works in a coffee shop, Henckell, in his spare time.

Anton Thiemke

What’s the most striking thing about Copenhagen?

Definitely the youth culture. I don’t know how to explain it. Creativity is a big thing for young people here; you can drop out of school and go study whatever you want for free. There are so many opportunities.

Is fashion important to you?

Of course! It’s very important to Copenhagen kids. There has to be some distinction in what you’re wearing here.  You have to wear what you think is cool – but not just because some cool rapper wears it. That’s what’s great about the people around me – they don’t care what other people wear. Young people are very creative.

Where do you and your friends hang out?

We spend a lot of time at nightclubs. One of my friends is opening a one right next to where I live, so I’m going to be there a lot!

Randi Mølmark

Randi Mølmark is 24 years old and hopes to study Film and Media Science at the University of Copenhagen.

Randi Mølmark, trave

What makes Copenhagen a great place?

I love that it has both modern and mid-19th Century elements. With great artists like Hans Christian Andersen and film director Carl Theodor Dreyer, it’s definitely an inspiring place.

Are you a typical Copenhagener? Do you ride a bike?

Do I ride a bike?! It’s like asking someone if they breathe! A bike is a necessity in Copenhagen.

How would you describe your generation?

We’re very relaxed about a lot of things.  Creativity is huge for us – we get a lot of support from our society, especially when it comes to art, which allows us to just follow our dreams.

Where do you and your friends go out in Copenhagen?

Everything closes at 5am when it comes to partying so young people are out all night! My favourite bar is McJoy’sChoice [on the Nyhavn waterfront] with good beer and great people. If you want an amazing hot dog just go to the local stands all over Copenhagen. But the best place is Tivoli. It’s a magical park in the middle of the city with rides and food, and in the evening it’s just beautiful.

LUX will be back to report more in-depth on the Copenhagen scene very soon, so watch this space.

A 16th century palazzo in central Genoa is home to Via Garibaldi 12

Interior design and homewares are undergoing a boom to parallel the explosion in the art market. Karys Webber seeks out some of Europe’s coolest places to accessorise your living space

Objeto de Deseo. Barcelona

Objeto de Deseo, rather more of a gallery than a shop, stocks an eclectic mix of ornamental vintage and contemporary objects from both big name designers and anonymous artists around the world, most of which are exclusive to the store. Unusual items in glass, ceramic, wood, metal and clay range from the traditional looking to the exotic and often just utterly bizarre; a porcelain beaver skull complete with gold-coated teeth an example of the latter.
objetodedeseo.es

Objeto de Deseo, Barcelona

Via Garibaldi 12. Genoa

Via Garibaldi 12 is a family run emporium housed in a grand 16th century palazzo in central Genoa. Often mistaken for a museum, customers ascend the marble staircase to explore the eight impressive rooms, two of which have frescoed ceilings depicting scenes from the Punic Wars. Despite the building’s rich history, Via Garibaldi 12 displays an array of modern furniture and home accessories from the store’s own label, B Home Interiors, other established names and up-and-coming designers. The store, which recently celebrated its 10th birthday, has become a must visit for international industry professionals who attend the annual Salone del Mobile in nearby Milan.
viagaribaldi12.com

Via Garibaldi 12 features pieces from its own label B Home Interiors

Via Garibaldi 12

Ben Pentreath. London

Architect and interior designer Ben Pentreath opened his modest shop nestled in the heart of London’s Bloomsbury in 2008 and, alongside store manager Bridie Hall, has crammed it with delectable treasures for the home sourced from all over the world. Claiming they only stock products they themselves like, their exquisite taste has ensured a shop full of new and antique items that you won’t find elsewhere. Standout pieces include glass plates by John Derian, linen tablecloths and tea towels by Les Toiles de Soleil and limited edition illustrations by Glynn Boyd-Hart.
benpentreath.com

New and antique pieces at Ben Pentreath

Ben Pentreath, Bloomsbury, London

Normann Copenhagen. Copenhagen

Wander around Norman Copenhagen’s vast flagship store, once home to a theatre, and the most mundane household item seems like a work of art. The 1700 square metre space is filled with quirky products that challenge traditional design; tilted cognac glasses that gently rotate around a point and twisted ‘swing’ vases (each one unique) in which it would be impossible to put flowers in, are just a couple of the unusual items you can pick up from here.
normann-copenhagen.com

Normann Copenhagen’s 1700 sq metres of design

Normann Copenhagen

Moooi. Amsterdam

Moooi’s flagship store in Amsterdam is a weird and wonderful space full of innovative furniture, lighting and home accessories arranged in Dali-esque displays. Alongside the store’s own range, designed by co-founder Marcel Wanders, and other established designers such as Jasper Morrison and Ross Lovegrove, Moooi is credited with giving up and coming designers their big break. Relative unknowns Front were catapulted into the limelight when Moooi stocked their somewhat surreal matt black lamp in the form of a life size horse.
moooi.com

Moooi’s flagship store in Amsterdam

Dali-esque displays at Moooi

Il Valore Aggiunto. Milan

Set back from the street, the treasure trove that is Il Valore Aggiunto, project of sisters Elena and Patrizia Sterzi, is not easy to find but is well worth the effort. A loft space that opens out into a picturesque courtyard; the duo have amassed a vast selection of decorative furniture, frames, mirrors and chandeliers with elaborate Italian flair plus period pieces ranging from the 1700s to the 1970s.
ilvaloreaggiunto.it

Il Valore Aggiunto, Milan

Graanmarkt13. Antwerp

This unusual boutique in a residential neighbourhood in Antwerp houses founders Ilse Cornelissens and Tim Van Geloven in the top floor of their stately renovated row house whilst the remaining three floors they have thrown open to the public. The result is an intimate and warm shopping experience filled with a carefullly selected range of home accessories and fashion from cutting edge designers. The location also boasts an exhibition space, restaurant and outdoor terrace café where shoppers can relax with a glass of champagne.
graanmarkt13.be

Graanmarkt13, Antwerp

Graanmarkt13

Mint. London

Mint, based in central London, is an interior designer’s dream. Avant-garde furniture and home accessories are hand picked by owner Lina Kanafani, who champions emerging talent, often commissioning design graduates for one-off and limited edition pieces for the store, which is laid out in the context of a real living space. Hand crafted ‘bark bowls’ carved from reclaimed trees which are dried for a number of months before applying a bright lacquered interior, are just one of Mint’s unique offerings.
mintshop.co.uk

Mint, London

Hay. Copenhagen

For effortless style and the best of contemporary Danish design look no further than Hay on Copenhagen’s bustling Østergade. Clean lines and bold colours make up the desirable furniture from the likes of Louise Campbell and Jakob Wagner plus a fantastic selection of rugs range from the fun, multi-coloured ‘Pinocchio’ rug to some well chosen vintage boucherouites. Chic stationery sets and beautiful children’s toys are also on offer.
hay.dk

Iconic Danish design at Hay, Copenhagen

Svenskt Tenn. Stockholm

Established in 1924, Svenskt Tenn has a long history but a recent refurbishment has seen the store almost doubled in size and given a new lease of life. The perfect place to see the newest trends in iconic Scandinivian design, the store has an array of colourful and contemporary pieces plus an extensive fabric and textiles selection. The newly revamped store even has a charming tearoom offering a selection of teas specially customised for the store and served in teacups by Florentine porcelain maker Ginori.
svenskttenn.se

Scandinavian design Mecca, Svenskt Tenn