The late Armando Testa founded Studio Armando Testa, one Italy’s largest agencies, in 1956.

Armando Testa is the greatest 20th-century design figure you’ve never heard of. Armando’s creations, straddling design and art, were groundbreaking and epoch-defining, but suffering from snobbery on the part of the high-art world towards what was and still is considered the lowlier and more commercial discipline of design. A new show at the Venice Biennale, conceived by Gemma Testa, Founder of Acacia Foundation, and curated by London’s Design Museum Director Tim Marlow, seeks to redress the balance. Here, Testa and Marlow discuss Armando’s legacy in a conversation moderated by LUX and edited by Isabella Fergusson

LUX: Gemma, why did you collaborate with Tim Marlow in curating the Armando Testa retrospective at the Venice Biennale this year?

Gemma Testa: I wanted to enable the work of Armando to become internationally known. Tim seemed an excellent choice, with his deep knowledge of both contemporary art and design.

Meat Chair, by Armando Testa, 1978.

LUX: Tim, what made you interested in the project?

Tim Marlow: This is one of the most important Italian artists in post-war and visual culture whom I didn’t know enough about, and many others like me don’t. The chance to explore and shed light on someone who beautifully straddles the worlds of graphic design and art, advertising and popular culture and supposed fine art was a wonderful opportunity.

Advertisement for Pirelli tyres, Armando Testa, 1954

LUX: Could you tell us about Testa’s significance?

TM: Armando was utterly radical from the beginning. He trained, learned painting, visual arts, art history, graphic design and advertising. He was a pop artist before Pop Art had even been invented. He understood the distilled language of Minimalism – look at his work in the 1940s and 50s before Minimalism existed. But he also understood that visual culture was a means of communication. There is this extraordinary creative trajectory that straddles very different worlds. His favourite word is ‘synthesis’.

GT: The main difficulty for Armando, for many years, was the lack of a proper gallery to represent him. Advertising is seen simply as commerce. Galleria Continua asked me to present Armando. This is a great opportunity to let his work gain recognition – he always believed in the great connection between art and advertising. While working on campaigns, he asked me many times, “What do you think about this?” I’d answer, “What is the aim? What are you working for? Who is the client?” and he’d answer, “You have to look at the sign; you have to look at the mark, at the drawing itself.” He has always understood and believed that there is a link between these two disciplines – advertising and art.

Tango Caliente, by Armando Testa

LUX: What are your purposes for the Venice exhibition?

TM: It’s the need and opportunity to present Armando’s works to a new audience, art scene and culture. The natural place for Testa – as a designer and as an artist – might be the Architecture Biennale, which is porous, looking at all sorts of disciplines. But it is decisive and important that it opens during the Art Biennale. Though the art world talks of porosity, it can be very territorial, and it can be a little defensive about people who come from disciplines other than the art world itself. Armando genuinely had a symbiotic relationship between the two. Even artists like Michelangelo Pistoletto – who studied at Armando’s design school – felt the importance of Armando as an artist and, as he put it, a “genius ad man”.

“Punt e Mes”, by Armando Testa, 1974

LUX: Gemma, how do you respond to that?

GT: Yes, some friends of mind suggested that I present Armando to the Architecture Biennale, but I felt that this could have limited his position. And there is a generation who know none of his works as an artist: this is who the exhibition is for.

TM: The great ‘Punt e Mes’ campaign is a very condensed example of why Testa is so brilliant – his sphere, half-sphere piece. It is a pun on the name ‘Punt e Mes’ [‘Point and a Half’]. It is a visual pun on a sphere and a half-sphere. He paints it. He makes a sculpture of it as well as a poster of it. He interrogates it in every way and makes it universal. An advertising campaign for Vermouth, using an Italian dialect, ought only to resonate with a specifically Italian audience, but it doesn’t. That is what we want to show.

LUX: How would Armando wish to be remembered following the Biennale? As an artist, a designer, or something else?

GT: Perhaps he would want to be remembered more as a creative, a multidisciplinary artist than an advertiser or a designer; the exhibition represents all the shades of his creative universe.

Exhibition Armando Testa is at the Galleria Internazionale d’Arte Moderna Ca’ Pesaro, Venice, 20 April-15 September 2024

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First looks, Giambattista Valli Haute Couture 25

Giambattista Valli moves as easily in the classical world of haute couture as in the contemporary world of social media and in the boardroom as CEO of his brand. Harriet Quick talks to the modern couturier as he prepares to take his maison to the next level

Environments have a way of seeping into the psyche of a designer and a brand. Rome-born designer Giambattista Valli is currently in the throes of bidding adieu to the wood-panelled, fresco-ceilinged lateral space in Paris that has been home to his brand since its inception in 2005. “It’s my historical space. When we first moved in, it seemed huge, a big undertaking and commitment. But now it feels small,” says Valli of the elegant, characterful HQ that lies on the rue Boissy d’Anglas in the 8th arrondissement, near Place de la Madeleine.

The office has witnessed the brand move in ebbs and flows since its inception, which was funded by Valli himself. The mid noughties were a volatile period in fashion, with extremes of bling and the highest of heels usurped by post-Lehmann brothers stealth wealth, as luxury brands clipped their wings and aesthetics to suit sober times. Now we are amid a new wave of financial crunches and the impact of the environmental crisis, triggering a new wave of quiet luxury.

Yet Valli is a deft hand at riding the waves and telling his own story in chapters that evolve and twist over time rather than chase hot trends. It means his company has been able to evolve and adapt, to the point where it is now time to upgrade and move his company of around 50 colleagues under one roof. Groupe Artémis, the Pinault family-owned company, has a stake in the brand, which in 2022 turned over an estimated $6.4 million. Valli himself has had an influence on fashion proportionately far greater than mere turnover numbers may indicate.

Portrait of Giambattista Valli

The new Valli offices are just up the road from the old, near Opéra, but offer two floors of light-filled space to house everything from the showrooms, atelier, PR and communications office, the commercial team and a VIP haute couture suite. “It is almost a townhouse, as we have our own entrance. The structure is good and there is beautiful stuccowork and frescoes,” says Valli of the interior, which features clean white “boxes” he has designed himself. “We always have so many prints, volumes and textures – I needed it to be neutral,” he explains.

With his dark thick hair, big eyes, fashionably deep yet sharply sculpted beard, Valli appears like a Renaissance artist transported into our times wearing a black T-shirt and chain necklace, instead of a doublet and ruff. He reserves his treasured 17th-century Mughal “good luck” pearl necklace for special occasions. “It is very rare,” he says. The pursuit of beauty in people, objects, environments and in fashion has been Valli’s lifelong pursuit. Soon he will be receiving VIP clients into his new showroom to choose from his latest haute couture offering, which was shown in Paris in early July 2023.

“I love to have the level of excellence that comes from pushing the boundaries of the atelier and the research required to propose new ideas of beauty. I approach haute couture in a classical-modern way, and each collection is like a new chapter of the same story,” says Valli, who frames himself as a romantic poet but is also CEO and an astute brand director, with a vision that appeals to a collective sweet spot.

The tradition of creating one-off gowns for an elite clientele who might attend three fittings before a garment is finalised might seem an anachronism in a click-and-produce era that can see whole collections turned around in a matter of weeks. But the experience offers an unparalleled luxury for both creator and client alike, a transcendental experience that sees centuries-old savoir faire reimagined for today. “Haute couture is the extreme side of this fantasy. It is also a practice that nourishes ready to wear, so what we see in the shapes, volumes and techniques filters through from a couture dress to a T-shirt or a knit piece,” says Valli of the osmosis. “When creating haute couture, ‘real’ time seems to stop and you float into another time zone.”

Look 09, Giambattista Valli Haute Couture 25. The maison describes the collection as “celebrating the modernity of classics and the timeless art of Atelier”

The 57-year-old couturier intertwines the many threads of his upbringing into his metier. Valli attended secondary school at a strict Vatican liceo near the Vatican Museum, took a degree in art, studied fashion at the Instituto Europeo di Design in Rome and in 1987 did an illustration course at Central St Martins in London. In 1988 he entered high fashion as an assistant for Roberto Capucci, the designer known for his opulent colour and sculpted gowns, who became a magnet for Roman high society during the 1960s and enjoyed a renaissance in the 1980s.

“From Roberto Capucci, I can say that I learnt the philosophy of not being trendy; I learnt to step a little bit out of the spot of the moment and also to keep the human side intact,” says Valli. He went on to Fendi, which had Karl Lagerfeld at the helm, then Krizia in Milan. In 1997, he moved to Paris and the haute couture atelier of Emanuel Ungaro where, as first assistant, Valli learnt about the arts of flou and tailleur and the rituals including passing the pins in complete hush. Ungaro was so impressed by Valli’s light, fresh work that he made him Creative Director of ready to wear and the stores adored what he did.

Valli channelled that love of volume, of light, fresh romantic designs into his own label and started making a name for himself attracting socialites, creative types, young women and older women into his fan-club circle. Count in there Priyanka Chopra, Marina Ruy Barbosa, Eugenie Niarchos, Bianca Brandolini, Giovanna Battaglia Engelbert (Valli made a macramé minidress with organza-chiffon cape for the party of her cliff- top Capri wedding in 2016), as well as more actors and royalty. They, in turn, became the best ambassadors for the brand and for its joyous, “go big or go home” dress-up daring.

“When I launched, all the houses had big stars, but we were independent and every cent counted. It’s almost like the Valli Girls chose us, We did not pay them to get dressed. They continue to be people who inspire me and they capture l’air du temps and I am nourished by that,” says Valli of his famously mercurial, nomadic, cultured muses and champions.

Giambattista Valli with muse Bianca Brandolini

In her 2013 book, Giambattista Valli, curator and fashion historian Pamela Golbin wrote of the designer, “Here is a story of duality, in which the exuberance of his Italian roots is artfully coupled with the formal rigour of the French.” She adds, “Complicity with women – through their body language and the gestures they adopt – is central to Valli’s practice because like a film director he directs his models as if they are actresses.”

In store and online that fantasy continues to seduce. “I have bought Giambattista Valli for most of my career. The brand consistently offers amazing and diverse occasionwear, from beautiful romantic floral gowns to tweed or bouclé suits and dress coats, which can be styled with a cute ballet pump or a sophisticated kitten heel depending on the occasion,” says Liane Wiggins, Head of Womenswear at Matches. “Giambattista Valli has a strong DNA and our customers continue to return for these well-cut, flattering pieces.” The store recently launched an exclusive capsule collection with the brand, which includes a floor-length silk fil coupé gown.

The current Giambattista Valli autumn/ winter 2023 line up finds raw-edge sleeveless tweed jumpsuits, semi-sheer tiered prairie dresses and a series of pieces including tunics and floral embroidered outsize jackets that were worn by men on the catwalk but are designed for every gender. “I do think there is fascination with beauty and how far one can push the fantasy,” says Valli of the zeitgeist. “The social-media message might be dreamy, critical or creative, but the platforms are a more democratic way to learn about this universe that was previously closed off and exclusive. It gives a chance for people to understand the work behind fashion.” He laughs as he adds, of his gowns that burst from the Instagram frame, “Image-wise, well, I have always loved big volumes, so that fits very well!”

Read more: Maryam Eisler’s photography series at legendary Parnham House 

From his new Paris HQ, Valli will lay the groundwork for the next chapter. “I would love the maison to sit alongside institutional houses like Dior and Chanel and to have that presence beyond my lifetime,” he says. “I want the brand to be coherent with a 100 per cent DNA that is about excellence and savoir faire. To do that, one has to move with consistency.”

With his 10-year-old son, Adam, Valli also has a young future to look after. “Right now, he is 100 per cent football! But he is very gentle, inquisitive, surprising, and I learn a lot from him,” says Valli. “How do I see myself age 70? Curious, still able to receive energy from beauty and wanting to share it. I hope I am going to surprise him, too.” This Roman in Paris knows his road.

Find out more: giambattistavalli.com

Jane Shepherdson is the woman behind the early success of Topshop, the fast fashion behemoth where she served as Chief Brand Officer in the 2000s. After this and her subsequent role as CEO of retailer Whistles, however, Shepherdson found that her complicity in one of the world’s biggest polluting industries was overriding the joy she once found in fashion. Here, the Director of the London Fashion Fund talks to Ella Johnson about her pivot to luxury rental start-up My Wardrobe HQ, and why rental is key to bringing the fun back to fashion

LUX: You are often associated with Topshop’s success as one of the early pioneers of fast fashion.
Jane Shepherdson: I always wanted to be a buyer – to structure and create ranges without actually designing them, and to work closely with designers. I got into Topshop at the very bottom, starting in the accessories department, and moved up to the jersey department, which was the biggest. It was where you could make the biggest impact, because you had responsibility for tens of millions of pounds worth of the company’s money. We travelled an awful lot in those days, and we did not worry about the environmental aspect. It was hard to beat as a lifestyle.

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LUX: When did you start to think about the environmental and social side?
Jane Shepherdson: We started our drive to better understand the supply chain at Topshop in the 1990s. We brought in a team of experts to do it, but Topshop had thousands of suppliers: it was very difficult to start establishing exactly what the supply chain was from the beginning like that.

It wasn’t until I moved to Whistles in 2008 that we really started to address the environmental side of things. We were a small business and we got to know each of our suppliers as well as we could, working with them to improve their practises. But it is still difficult to be completely sure that the factory you’re using is doing everything you expect them to be doing.

LUX: You are now Chair of fashion rental platform My Wardrobe HQ. What prompted your move to the rental fashion sector?
Jane Shepherdson: I left Whistles in 2016 because I was unsure that running a fashion business was something I could continue to do. I started looking at the possibility of creating a platform to display sustainable fashion, but I realised that I couldn’t find enough credible fashion brands that were sustainable. There is no point in endorsing fashion brands that I don’t think are any good: their practises may be perfect, but if the garment that comes out of the other end comes out as a hair shirt, there is no point doing it.

I had also just come back from a year travelling around America in Airbnb virtually every night. Fifteen years ago, you would never have considered sleeping in a stranger’s bed for the night. Now people are far more relaxed about renting apartments, cars, scooters. Why not fashion?

LUX: How have luxury brands responded to the rental proposition?
Jane Shepherdson: In the beginning, they were slow. They couldn’t see how rental worked within the luxury world, with the feeling of exclusivity. But in the last year we have started to have conversations directly with the luxury players – including Burberry, Liberty London and Harrods – because they are starting to realise that rental is not going away.

Think about it from the designer’s point of view. Most of their catwalk pieces end up just being that – catwalk pieces. The wholesalers don’t buy the avant-garde or brightly coloured pieces because they are too risky. Conversely, it has been proven that people are much more experimental when it comes to what they rent: consumers are much more likely to rent something that is covered in feathers or bright yellow than they are a black dress.

Jane Shepherdson, Chair, My Wardrobe HQ and Director, London Fashion Fund

LUX: Has that been true of your own experience of renting clothes?
Jane Shepherdson: I have spent a lifetime trying to dress myself for events, typically spending £1000 on something that was quite discreet, in navy or black, and assuming that was my sense of style. When I was first introduced to rental, however, the first thing I wore was this floor-length lilac Sharon Wauchob dress that was covered in feathers, with a matching tailored coat. Lisa Armstrong then called me one of the best dressed women of the year – the first time that has ever happened to me! It was completely different to what I had ever worn before, but it felt completely me – because I was allowed to experiment. Rental brings fun back to fashion.

LUX: Can second-hand ever be incorporated into ‘mainstream’ luxury?
Jane Shepherdson: The stigma associated with second-hand clothing is becoming less every single day. Most of our marketing and social media is really based on showing the beautiful, over the top creations that don’t look like they have come from a charity shop and are a bit more glamorous. I hope people will get that feeling and then prefer to rent a few pieces that were beautifully made that made me feel amazing, rather than have a wardrobe of cheap clothing that cost the same and they aren’t going to wear again.

LUX: Some say that rental perpetuates the appetite for newness which drives overconsumption in the first place.
Jane Shepherdson: I think telling people that they can’t do or have something is tantamount to saying to them ‘go on, do it again’. You have to find ways of allowing people to have fun, but in a different way.

Rental isn’t perfect, and I know that. There are plenty of environmental factors that I am still trying to overcome, like ozone cleaning and having to dry clean clothes all the time. But I hope it changes people’s mindset and relationship with fashion. Rental slows you down: you have to plan ahead.

LUX: How important is diversity to My Wardrobe HQ’s offering?
Jane Shepherdson: We want to be accessible to as wide of an audience as possible. That is difficult, though, because the individuals who lend us their wardrobes tend to be in small sizes. It is easier with the clothes we get from brands, because they give us a full size range. But we are continually trying to get a broader selection of clothes on the site.

LUX: Is there scope for designers to bring out collections for rental alone?
Jane Shepherdson: We have to think of different ways of doing things. I have had many conversations with [sustainable fashion designer] Patrick McDowell about how designers might do that with deadstock. If rental takes off and we get to some kind of scale, then it would certainly be a business model that designers would be happy to adopt. Think about the difference: designers selling their product to a wholesaler get back about 30% of retail price; if they rent it, they have only got to rent it out two or three times to have made more money than they are going to get from the wholesaler.

Read more: All-access rundown of Ozwald Boateng’s return to London Fashion Week

LUX: In what other ways are you seeing fashion innovate itself?
Jane Shepherdson: I am Director of the London Fashion Fund, which is funded by the Mayor’s office to find environmentally and socially responsible businesses who will be the future of fashion. We are currently looking at one business that is growing cotton hydroponically, which uses 90% less water. There is another which is looking at creating garments that photosynthesise when you wear them. They are alive, since they have these microbes, so instead of putting your jacket in a dark wardrobe, you hang it on the back of the chair in front of the window. They claim that one square metre of the cotton jersey they produce absorbs as much CO2 as a 100-year-old oak tree, and are talking to a high-street retailer about putting a collection together.

It is early days for a lot of these things, but there is so much that is happening that makes me feel optimistic. At least we can mitigate some of the damage. I am so desperate that someone doesn’t come along and say, ‘you can’t have fashion anymore: it is too trivial’. We have got to find ways.

Find out more:

mywardrobehq.com

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A botanical themed wedding designed by Ali Behnam-Bakhtiar

Iranian-born designer Ali Behnam-Bakhtiar does everything from interiors and architectural design to weddings and luxury parties. Here, he shares his predictions on how the event industry will change post pandemic, and reveals the process behind some of his recent projects

If we can say one thing about Covid, it is that it has pushed us to become more aware of our social life and the things we spend time on. Of course, as restrictions lift around the world, there is bound to be some mindless ‘panic partying’ for a while. After all, we were locked down for a long time, and any event feels exciting, now that we are finally free to socialise again!

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However, after this ‘everything goes’ phase, I think we will quickly be reminded of the lessons the pandemic has taught us: to cherish the personal, celebrate the details, be more mindful of our surroundings and appreciate the ‘offline’.

The Design Process

The process for designing an event is evidently different with every client. You have to dig deep to understand their true wants and needs in order to make their dreams happen. Some clients come with a highly defined idea, but I have found that throughout the process this often changes, as we grow together in bringing the concept to life.

For interiors, it is very dependent on functionality. It’s not just about thinking about what the house can do for you today, but also what you might need it to do for you in the future. I want to create spaces that people can grow in, that can sustain them. I include the client in this whole process, especially when it comes to selecting materials. I think it is important for them to become comfortable with the energy and the essence of the structure before they even move in. That is what makes it personal: it feels theirs.

Recent Projects

In my work as an event and wedding designer, I have seen a lot of copy and paste events. While lacking in originality, in some ways this impersonal party hosting was not really an issue in the past, because we always took it for granted that people would show up. This has changed. Now, people, quite rightly, want more. They want something personal. Modern design needs to take the chosen environment into account. This is where you can see the difference between a replicated design and a personalised specific design.

To me, design always needs to be locale-based. In a recent case, the client wanted to go for a full wedding-white look initially, but I knew that in the opulent church space they chose, it would not work. In extravagant locations like these you need a more specific colour palette to make it shine. So we designed a harmonious image, finding contrast in the depth of the colours to enhance the church itself. The result was something unique for them and for the location they chose.

For a ‘divorce party’ I designed, I wanted to create something from scratch, so we used a cargo ship. This meant huge flexibility: we painted the whole thing, did our own flooring, created arches, and designed designated areas that worked for this particular event with the party centred around an ice-skating/ dance floor. We also created a lounge area, and functional spaces such as food and beverage and luxury bathrooms. To create the right ambiance, we used a lot of blossoming flowers and installed trees with led lights, guiding the guests around the ship. Then as the grande finale, highly personalised fireworks installed all around the ship, going both upwards and sideways, led to a unique vista at sea, and a once in a lifetime experience, for guests only.

For another recent wedding, because of COVID and the needs of the client, finding the perfect venue was impossible, so we designed and built our own. We still wanted that heritage feel, so with a big landscaping team, we created a space that felt like it had always been there in nature and nurture. I love designing a venue for a specific function, because it means not only that the event is completely personal, but also that it stays that way forever.

The Future

Since Covid, we have all become stricter with our schedules and more cautious of travelling. Events therefore won’t be less important, they will, however, have to be much more intentional. When anything and everything can be shared on social media or experienced over Zoom, being actually present needs to mean something. There has to be an added value for real life attendance. A merely visual experience, that is easily replicated on screen, will not cut it. We long for an energy that transcends the screen. Something that requires our full presence. Something ‘you had to have been there’ for. That is what sets an event or wedding apart these days. Designing events post-Covid is no longer just about throwing a seamless party, it is an expression of identity.

Find out more: alibakhtiardesigns.com

The living space of a three bedroom apartment at 101 on Cleveland, designed by Bergman & Mar. Image by Taran Wilkuhu

London-based interior design studio Bergman & Mar has developed a reputation for designing unique, artisanal spaces for London’s sleekest new developments. The studio’s latest project, 101 on Cleveland, combines organic elements with brass detailing to bring organic luxury to Fitzrovia. LUX speaks to the founder, Petra Arko, about craftsmanship, storytelling, and the art of bringing a show apartment to life

1. Bergman & Mar is renowned among London’s leading property developers. How do you bring the show apartments you work on to life?

Our vision for every project is created by staging and storytelling. We immerse ourselves and understand the area, culture, space, and potential homeowners’ needs for each project. We love incorporating organic shapes, daring palettes, and unique textures into our schemes to provide personalised solutions for our clients that have a lasting impact. I still get excited when we walk into a new but very bare apartment: it’s like an empty shell. It’s wonderful to give it a soul and transform the space into a warm, welcoming home.

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2. Your latest project, 101 on Cleveland, draws clear inspiration from nature with its autumnal interiors. What was the thinking behind the palette?

Colour impacts the human mind and helps create ideas whilst generating certain emotions, so we always try to base our selection on that concept. The palette for the 101 on Cleveland project was carefully thought through to represent the diversity and history of the location. A selection of various finishes were combined to show a subtle mix of elegance that all contribute to the look and feel of the apartment. Brass detailing and organic elements flow throughout the entrance, living, dining and study spaces to create a sophisticated space that reflects the streets of Fitzrovia.

The live edge dining table is one of our favourite pieces. As you walk into the space, your eyes can’t help but be drawn to the walnut slab’s visual textures and organic edge, which gives a unique feel to the area. We discovered Martelo & Mo [who designed it] not too long ago. They’re a British-made studio run by a husband and wife with a passion for designing and creating functional, well-made furniture from sustainably sourced materials. We love their approach to creating handcrafted pieces of furniture made with their minds and hands that respect the integrity of materials while considering how they look and feel.

3. How does sustainability intersect with your design process, aesthetic and otherwise?

Longevity and sustainability in design is nothing new to Bergman & Mar: we are passionate about [these things] and strive to ingrain [them] in all of our projects. The change now is about making sustainable design attractive and stylish. We are moving away from purchasing off the shelf by investing in vintage, upcycled and bespoke furniture, looking to source those unique and iconic designs of the past and working with craftsmen and makers that are consciously sourcing and working with sustainable materials.

One of the apartment’s bedrooms. Image by Taran Wilkuhu

4. Bergman & Mar frequently draws together the work of established designers with that of emerging ones. Why is that important to you?

We work not only to support ethical and sustainable furniture, but also strive to recommend genuinely inspirational people with meaningful stories. We aim to source pieces our clients can keep for life and perhaps pass on to the next generation. The design should not be for single-use and should last forever; likewise, we want to uncover the makers that [have longevity], will be the next Jeanerette or Eames. Design that is within reach, and yet beautiful, long-lasting and iconic.

Read more: Legendary Designer Christian Louboutin on Passion & Solidarity

Something very magical happens when you find a beautiful workshop making genuinely unique, quality handmade products. The makers are modest, down-to-earth personalities that live and breathe their designs. We live to work with these individuals, share their stories, their struggles and wins.

5. How has your Slovenian heritage informed your design philosophy?

I grew up in Slovenia during socialism, where our unique geographic position nestled in the Alps (between Austria, Italy, Hungary and Croatia) meant that we benefited from rich cultural and design influences. In the small alpine town where we lived, the craftsman and makers were part of the community. Perhaps Fitzrovia’s colourful cultural history and home to British craftsmanship resonate with me in this sense. Our vision [when we began the studio] was to create a space that was a combination of cultures coming together: we sourced items from various artisans and local suppliers to provide a curated list of re-editioned and future icons that resulted in a unique apartment space.

6. What’s the story behind the name Bergman & Mar?

Slovenia is nestled between the Adriatic Sea and the Julian Alps, so Bergman (‘mountain man’) and Mar (‘sea’). Mar is also part of my mother’s maternal name. The name Bergman & Mar is also a somewhat sentimental reference to my childhood and the influence my dad had on my creativity. My dad is a film director, and his book about Ingmar Bergman sat on our piano when I was growing up.

Find out more: bergmanandmar.com

The kitchen of a Cologne family designed for socialising, with Gaggenau equipment including a 200 series oven, a 400 series cooktop and discreetly hidden fridge-freezer and dishwasher.

The impact of climate change, digitalisation and the pandemic is demanding bold, new visions for our homes and public spaces. Here, Millie Walton speaks to Sven Baacke, Head of Design at the luxury home appliance manufacturer Gaggenau, and Ian Lambert, Director of Cambridge-based architecture and design studio Inclume — who recently created an installation for Gaggenau’s London showroom — about sustainability, adapting to shifting lifestyles, and the experience of luxury

SVEN BAACKE
Head of Design at Gaggenau

Sven Baacke is Gaggenau’s visionary head of design. Visionary in both senses of the word: he is a passionate, radical creative, and a kind of prophet. Then again, part of his job, and perhaps of all good designers, is to anticipate the future and in some ways, also to shape it.

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Baacke is in the business of kitchens, which means any emerging cultural or social trends are filtered through a very specific perspective: “What will that mean for kitchens?” and more specifically, “What will that mean for Gaggenau’s luxury appliances?” Take, for instance, the trend for biophilic design. While the desire for creating living spaces that are more closely connected to nature might not directly affect say, the design of an oven, it does affect the architectural structure of the home, which in turn, means rethinking the positioning of the kitchen and the way that people move through and use the space. “Our customers are increasingly creating environments such as outdoor kitchens or gardens where they can grow their own ingredients,” says Baacke. “But what we think about is: how far can Gaggenau go? Is the kitchen the limit for us, or beyond?”

Gaggenau’s design team

The brand’s global success is built on its ability to create a range of good-looking, technologically advanced appliances that effortlessly respond to these shifts and demands in lifestyle. Baacke calls their approach “traditional avant-garde”, in the sense that they are a historic brand with a contemporary ethos. At one point during our conversation over Zoom, he holds up the Gaggenau designer’s handbook, flicking through the pages to show me what seems to be mostly images, which Baacke describes as “mood boards”. “It helps to have guidelines,” he says, “but it’s not a cookbook.”

How does Gaggenau decide what to make next? “Our designers are very curious, so there are always a lot of vibrant ideas floating around. Mostly, we are thinking of what not to do and I don’t just mean physical design, shapes and colours, but also topics. There are so many things already out there. You really need to think twice before you create something new and to ask what difference will a new product make in the world.”

Despite fluctuating trends in aesthetics, the kitchen remains a central feature of building design. Even if it is becoming increasingly integrated into our homes, for now, at least, we still need somewhere to cook, eat and gather. “There’s a big chance the kitchen will become invisible in the future, but there are two poles of opinion about that,” says Baacke.

Paris kitchen designed with Gaggenau equipment by the Russian architecture and design studio IQOSA

Gaggenau’s appliances might look like design objects, with super-sleek metallic finishes and sculptural lines, but they are also made for everyday usage. “The tactile element of our products is very important,” says Baacke. “Nowadays, with the increasing digitalisation of our lives, nothing is really by chance, everything is calculated. So, it’s nice to still have something in your hand, to touch a real material.”

Read more: How Andermatt became a leading luxury destination

At the same time, technological advances have undoubtedly enabled Gaggenau’s appliances to provide increasing levels of precision and ease in both professional and domestic kitchens. The heat in their combi-steam ovens, for example, can be controlled to within one degree, a process which continually revises the estimated cooking time based on temperature-probe readings from three different sensors. They can also be integrated with voice-controlled AI systems such as Alexa. Is this the modern-day definition of luxury?

“There are a lot of products that are high-end, but luxury is more of a feeling. It’s very individual, and it’s not just about the technology,” says Baacke. “We try to create feelings. When you use our appliances in your beautiful home which is connected to your family, that can be a luxurious experience.”

Gaggeanu’s 200 series ovens

Gaggenau’s materials (think stainless steel, dark aluminium, rich woods and glass) are selected for technical and aesthetic reasons, but also durability, which is a crucial part of the brand’s approach to sustainability. Baacke’s response, as always, is to look to the future, and longer-term solutions, rather jumping on the sustainability trend as a marketing tool without properly considering the consequences.

“We create appliances that are really reliable. You can buy our ovens from the 1980s on the internet and they still work and look good,” he says. “But it’s also a mindset. Does a patina on a surface mean that you have to throw it away, or could it be like a leather bag that gets better over time and tells a story? Crucially, for us and the whole industry, sustainability also means repairability. Can you unscrew the appliances? Can you separate the materials?”

Alongside an increased cultural awareness of the environment, the difficulties of the past year have brought with it a new appreciation for a slower way of living, which in turn has led to a renewed interest in antiques, vintage products, and craft and artisanal practices that all speak to a certain feeling of nostalgia. Since 2019, Gaggenau has been supporting small-scale makers and producers through their Respected by Gaggenau initiative, and Baacke himself recently bought a BMW motorcycle from 1973 that he describes as “the true essence of a motorcycle”. “There’s a lot of anxiety about what the future will bring, so I think people need to have familiar things around them, things that make them feel good,” he says.

Sven Baacke: Where to start with redesigning your kitchen

The first question has to be: why? What don’t you like? Is it the colour, the arrangement of cupboards or the appliances? Has your lifestyle changed in some way? Has your family grown, or have your kids moved out? Do you like to host dinners? Do you enjoy cooking with guests in the kitchen, or would you prefer for them to sit while you cook? Start with the small things, and the ideas will get bigger.

Ian Lambert with Fragment in Gaggenau’s London showroom

IAN LAMBERT
Director of Inclume

LUX: Your installation for Gaggenau’s showroom in London made innovative use of paper. How did that project come about?
Ian Lambert: We won a competition which was run by the London Festival of Architecture in partnership with the paper supplier G.F. Smith, so a large part of the brief was to create something using paper. We have used paper in the past and it’s actually a great material to work with because it’s malleable and very lightweight, which especially helped with Fragment, the window installation, as we were suspending 4,000 polygonal forms. The design took inspiration from the craftsmanship that Gaggenau has pursued since it started as a hammer mill and nail forge in 1683. The polygonal forms were an abstract representation of fragments of metal and we chose colours that reflected the history of the brand, with the black signifying the Black Forest in Germany, where the brand was born, and the orange representing the roaring fires of the furnaces used to craft the appliances.

LUX: What’s your process for coming up with an initial design? What are the factors you consider?
Ian Lambert: We usually start with a brief, which will be formatted as a response to a question. Visiting the space, talking with the client about how they’ve used the space, what works for them, what doesn’t work for them, and how we can introduce new things – all these factors provide a narrative and a set of parameters to work within.

LUX: Where do you, personally or as a studio, find inspiration for new ideas?
Ian Lambert: I think we’re inspired by what’s around us. It’s difficult to pinpoint a specific place. Looking online is quite a dangerous thing to do – you don’t want to copy other people, but you can find inspiration in little details from different projects and also by revisiting ideas that you’ve already done. At the end of each project, it’s not the final piece, because we can always improve. We take each project and then try and build on that next time by refining details. Over time, it gets better and better.

Read more: How to create a truly sustainable luxury hotel

LUX: In your opinion, what are the key principles to good design?
Ian Lambert: I think good design makes your actions feel easier in daily life. That doesn’t necessarily mean that you have to identify with what’s good architecture or good design. It doesn’t have to be noticed, it can be subtle and understated.

LUX: Do you think the pandemic has had an impact on how people perceive their living environment?
Ian Lambert: I think people are beginning to appreciate the things around them and the value of the spaces that they inhabit. Most people have been working from home lately, so it’s about adaptability. You might have your kids or your partner around and you’re also living in the same space 24 hours a day, so you are able to more easily identify the things that work and the things that don’t work.

LUX: How much of a consideration is sustainability in terms of the materials you use?
Ian Lambert: We’ve always been fairly conscious of what materials we use. With an existing house and its various elements, we try to keep as much of the original as possible, but create a new focal point. We also use a lot of materials, particularly in our installations, that are recycled. It presents a challenge as to how we can use and modify them to create a different experience. It might be just paper or some old pieces of timber but it can be aesthetically amazing if you see something that’s been recycled and then used in a very good way. At the same time, it doesn’t mean that using brand new materials can’t be sustainable. You need to consider other elements. If you’re doing an installation for example, how long will it be up for? Will it get chucked away at the end? Or are you then prolonging the longevity of the material by reusing it in a different way?

LUX: What makes a design luxurious?
Ian Lambert: I think luxury is subjective. For us, as a studio, it’s something that makes your life easier in a seamless way, whether that’s through bespoke design or creating a positive experience for someone. For example, we did a project where we made a raft out of sustainable materials such as recycled timber pallets and barrels. We took it to a lake and it was very complex putting it together, but when you sat on the raft on the water in silence beneath the canopy of trees with different shades of light filtering through, it felt like a luxury space. Luxury experiences can also be about the fun and enjoyment of doing something with other people.

Find out more: gaggenau.com/gb

This article was originally published in the Autumn/Winter 2021 issue.

The Bouquet Light designed by Tord Boontje for Habitat in 2014

For product designer Tord Boontje, material is all. Whether made from upcycled blankets or crystals, his designs for anything from chandeliers to self-assembly chairs marry function with his signature playfulness. Torri Mundell meets him (virtually) at his new studio in London to talk about his work while normal life has been on hold

Tord Boontje 

Few occasions compel you to tidy your surroundings like the prospect of a Zoom video call with a globally renowned product designer. What would Tord Boontje, the former Head of Design Products at the Royal College of Art and the originator of one of Habitat’s most successful home accessories of all time (the Garland light, first launched in 2002), make of a design civilian’s cluttered kitchen?

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Thankfully, Boontje’s aesthetic is not calibrated towards austere minimalism. In fact, he is renowned for injecting notes of whimsy or romance into contemporary design. On a virtual tour of his bright new London studio, you can spot a few of his artful pendant lights as well as shelves full of intriguing decorative pieces, prototypes and ephemera. He also points out the drawing and photographs tacked on the walls: “It helps me to look at something and slowly think about it over weeks. And I like having materials around that you can pick up.”

Transglass vessels for Artecnica, 1997. Image courtesy of Artecnica. © Jerry Garns Studio 20111

Materials – and sustainable materials in particular – have always been a preoccupation for the Dutch-born designer; his early 1998 Rough and Ready furniture collection combined simple wood with upcycled old blankets and discarded packaging. And though he is an advocate for accessible design, he also collaborates with luxury brands when they offer an opportunity to “use really good materials, make [designs that are] long lasting and manufactured in an ethical way”. Moroso, with whom he has collaborated on a range of seating, is a good example. “There’s an honesty with the materials they use. It’s not cheap, but it’s worth it. I feel uncomfortable about making things look expensive just for the sake of it.”

The Lustrous Aura chandelier for Swarovski, 2017. Image courtesy of Swarovski

Boontje graduated from the Royal College of Art with a master’s degree in 1994 and he established Studio Tord Boontje in London two years later. Since then, two decades of launching new products and collaborating with clients has honed his creative process. He knows, for instance, to treat a new idea tenderly. “It’s good to have lots of opinions, but ideas can only develop with people you trust,” he says. He often talks them over first with his wife, Emma, an artist. And only after sketching and creating models from paper, card or foam, will he work on screen. “My colleague Tommy usually does the 3D modelling. It’s better at that stage to be one step removed; I can be more objective about what’s in front of us.”

The Transglass chandelier, 2015 (top) and the Tangle Globe ceiling light, 2011. Both designed for Artecnica. Images courtesy of Artecnica

He finds himself endlessly inspired by light. “When I walk around in a city or a forest, I always look at the way light reflects on the buildings or filters through leaves on the trees and makes patterns and shadows… Lighting can also make a huge impact on space, not just decoratively but in the light it casts into the room.” This fascination has shaped some of his best-known designs, from the aforementioned Garland, to Icarus, the feathery paper shade he developed with Artecnica, to the crystal chandeliers he reimagined for Swarovski and Sun – Light of Love for Foscarini.

Read more: Superblue’s experiential art centres & innovative business model

For Boontje, lockdown has been a creatively productive time. “A lot of my projects with clients have been on hold, so I’ve had time to reflect and to look into products I can make independently.” Studio Tord Boontje’s latest collection from 2020 is called Do-It-Together, debuting with a pendant light of organic cotton that customers can customise and a handsome self-assembly wooden chair. The chair’s components – the birch plywood seat and back, the solid beech frame, and the bolts and wing nuts – arrive in a package ready to be assembled at home. “We also give suggestions about how you can colour your chair, using skins from beetroots, or how to paint it with natural beeswax or oils,” he adds.

The Radiant table light for Swarovski, 2019. Image courtesy of Swarovski

Offering customers the inspiration to make something from scratch taps into a spirit of resourcefulness that feels very current. “During lockdown, we saw sales of arts and crafts and sewing machines shoot up. We want the pleasure of new things, but we’re changing our relationship with how we consume them.” Will we hold on to things longer if we had a hand in making them? “Absolutely. People who make their own things also learn how to fix them if they break,” he says, before adding, “The more you put into it, the more you get out of it.”

Find out more: tordboontje.com

This article was originally published in the Summer 2021 issue.

Jonathan Riss has designed a collection of bags exclusively for One&Only

Belgium-born designer Jonathan Riss is the founder of JAH AHR, a luxury brand which transforms authenticated vintage designer bags through embroidery techniques. His latest collaboration with One&Only Resorts – a collection of limited edition custom-designed vintage Louis Vuitton Keepalls – is inspired by the local heritage and culture of each of the brand’s destinations. Here, Abigail Hodges speaks to the designer about his creative process, sustainable fashion and the future of travel

1. What led you to start re-crafting iconic vintage fashion pieces?

We live in a society of significant over-production and if you analyse consumer behaviour, you quickly see that people prefer iconic pieces, not because of their value, but because of the work and effort to perfect these pieces over time so they too reflect the values and desires of society.

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Today, there is an increasing demand for sustainability as well as individualisation. The idea that we not only take vintage objects and give them a new lease of life, but also to continue to work on them. To be part of this pursuit of perfection, but at the same time to continue to reflect the wants of society by offering singularly unique pieces is very interesting.

2. Can you tell us your favourite story about one of the bags you’ve sourced?

There are so many stories across the different mediums that we are transforming. One that springs to mind for the Keepall collection is a bag we sourced in Moscow that was originally made in 1991, on which we placed the USSR flag as this was the year of the dissolution of the Soviet Union.

Another bag we found was in Hong Kong that was made in 1997 which was the year of the historic handover so we imprinted this bag with the Hong Kong flag. We also sourced some bags in Tehran which have our Persian rug design reflecting the philosophy of our collections, which is to highlight the imprint of the local culture where the object was used or sourced.

Riss at work in his studio

3. What does your design process typically involve?

The most important aspect of what we do is not the design itself, but the narrative that sits behind and around each piece. So the provenance often leads the design as the actual story of each object is much more interesting, and the design is an extension of the story, but of course, exploring different techniques of texture is a vital part of the design process enabling the execution of the narrative.

Read more: Win two life coaching sessions with Simon Hodges

4. How did your collaboration with One&Only come about?

This is a beautiful topic. One&Only owns a stunning portfolio of unique properties all over the world that really reflects the philosophy of our collection. The opportunity to create a bespoke heritage collection that allows us to showcase the cultural, social and natural aspects of each destination was an incredibly exciting opportunity as this is exactly what we do with all of our collections.

5. When deciding how to celebrate each destination, which elements were particularly important for you to highlight?

There are almost too many elements to consider, so again, we were often led by the bag itself. For example, for Cape Town we had a bag that was originally made in 1994 which was the first year of Nelson Mandela’s Presidency so we created a design celebrating the great man himself.

Similarly, we had a bag for Rwanda that was from 2002 which is when the new Rwanda national anthem was officially inaugurated so we placed the lyrics from the anthem on an interpretation of the national flag. For Dubai, we wanted to showcase the incredible architecture as well as the importance of Islam so we overlaid a blessing on the Dubai skyline. In Mexico, we are fascinated by the contrast of the colour and vibrancy of the Dia de los Muertos with meaning behind the celebrations. In Malaysia, we loved the romance of discovering ancient statues and carvings in the jungle. The breadth of inspiration is also important to us.

6. What’s inspiring you currently?

Given what has happened in the past year, I am getting excited by the future of travel, and how the quality and experience of travel will evolve. As we have seen, anything can happen that impacts society in a dramatic way so what is interesting is to see how we elevate ourselves and I am working on a new project thinking about this, so watch this space.

Follow Jonathan Riss on Instagram: @_jay_ahr_

To purchase one of Jonathan Riss’s bags for One&Only email: [email protected]

Caroline Scheufele (left) and actress Julianne Moore at the 2019 Cannes Film Festival wearing Chopard.
Photo by Eamonn M. McCormack/Getty Images

Chopard’s Artistic Director Caroline Scheufele speaks to Torri Mundell about the Swiss company’s new Magical Setting range, aimed at creating a whisper-light collection of jewellery to be worn anywhere, anytime

When Chopard’s artistic director and co-president, Caroline Scheufele, developed an innovative technique to render the setting of gemstones nearly invisible, magnifying their light and lustre, she knew she wanted to apply the technique to everyday pieces as well as show-stopping designs. “I imagined this collection for a chic day-look and easy-to-wear style,” she says. “Chopard pieces are works of art that come to life when they are worn; I want women to feel as free as the light of the diamonds, and to be able to wear their jewellery with an evening dress as well as with a pair of denim jeans!”

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The custom of saving something for best may have fallen out of favour and after several months of lockdown and the tedium of staycations and leisurewear, it holds even less appeal. Created around traditional clusters of diamonds, rubies, sapphires and emeralds with a modern, ‘barely there’ setting, Magical Setting necklaces, bracelets, earrings and rings add a dash of sparkle to the most ordinary of days.

Lea Seydoux (top) and Natalia Vodianova at the 2019 Cannes Film Festival wearing Chopard

Read more: Halloween thrills on the slopes in Andermatt

Scheufele knows that versatile design is the key to conceiving fine jewellery that can be worn every day. She even designed pieces such as earrings that convert from “long earrings for special occasions” to “stud-like cluster earrings for a more day-to-day basis”. She also advises her clients to follow their instincts when it comes to choosing jewellery that will stand the test of time. “Some women are ‘emerald people’ while others are ‘exclusively diamonds’,” she says. “When I am with a client buying a piece, I want to make sure the jewellery she is buying is true to her, that she can see herself wearing it tomorrow, as well as in 10 years, for any kind of occasion.”

View the collection: chopard.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

Penélope Cruz at the 2018 Cannes festival wearing Atelier Swarovski jewellery. Courtesy Swarovski. 

Penélope Cruz brings her renowned energy to philanthropic and charitable work – and now she is designing jewellery for Swarovski. LUX speaks with the Spanish-born Hollywood superstar

LUX: Where do you call home?
Penélope Cruz: Madrid. I grew up in a place called Alcobendas, a suburb of Madrid, with my sister Mónica and our parents and after with my brother Eduardo. My earliest memories are of being in my home every Sunday, everybody cleaning the house. There was always music, and everybody was dancing. My mother ran a hair salon, and between the ages of five and 12, I would go to the salon and listen to the women. I don’t know why but women in a hair salon share their deepest secrets. They would share everything with everybody. That was the first acting school for me.

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LUX: Tell us how your collaboration with Swarovski came about?
Penélope Cruz: The whole process evolved very naturally. I had worn some beautiful Atelier Swarovski pieces at various events. But it was when I met Nadja Swarovski and she spoke in depth about Swarovski’s work with sustainability that I became inspired to work on a collection with her. I really care about having a positive impact on the planet, and Swarovski has a rich history of putting sustainability at the heart of what it does.

LUX: What interested you in working with Swarovski Created Diamonds in particular?
Penélope Cruz: Before speaking with Nadja, I didn’t realise that it was possible to create stones in a lab with a low impact on the environment. As soon as I became aware of Swarovski Created Diamonds and other lab-grown precious stones, I wanted to start designing pieces and use them.

Courtesy Swarovski.

LUX: Your jewellery designs seem to have a vintage Hollywood feel. Have you always been drawn to the aesthetics of the era?
Penélope Cruz: My fine jewellery collection has a classic red-carpet aesthetic and I always go back to that – they are timeless pieces that I would always choose to wear. I think there is something for every woman in what we have created.

Read more: How we created the Ruinart Frieze lounge experience at home

LUX: What is the most important thing you learned from this collaboration about how to bring a design concept to life?
Penélope Cruz: It has been an amazing learning experience. I’m very lucky that Nadja and the team have given me such creative freedom. I begin the design process by pulling together images and references of things I love, and then spend hours with the designers to distil the clippings from movies, novels, paintings, ballet dancers and vintage markets into a jewellery collection that tells the story.

Cruz with Vogue editor Edward Enninful and Nadja Swarovski, 2019. Photograph by Nicholas Harvey

LUX: Would you encourage a young person to pursue a career in acting?
Penélope Cruz: It has been an incredible honour and pleasure to build a career as an actor, and to be surrounded by so many brilliant artists in theatre, film and television. Sometimes it can be a huge challenge, but I would encourage any young person to follow their dreams, listen to their heart, work hard and stay away from drugs – whether that is in the creative industries or beyond.

LUX: When you aren’t working on a film, what personal or creative projects do you focus on?
Penélope Cruz: From the age of seven I loved redesigning the clothing and jewellery from the pages of my favourite fashion magazines. So, working on jewellery design projects is a big passion for me and I have been honoured to have the chance to fulfil my childhood dream with Atelier Swarovski, season after season.

Read more: American artist Rashid Johnson on searching for autonomy

LUX: How does your family help you to stay grounded?
Penélope Cruz: I have always kept my personal and professional lives separate. Being with my family gives me so much happiness and it is my priority.

LUX: What inspired your activism, such as your involvement with the Time’s Up movement?
Penélope Cruz: I feel very strongly about the causes I support, and I have noticed a difference in Hollywood since the Time’s Up movement created a sweeping dialogue about the treatment of women. It is already having an impact on the kind of questions we get asked in interviews. Previously, you would be in a press conference and the women would mainly be asked very rude or superficial questions. People are more careful now. It’s symbolic, but hopefully we are understanding how to treat each other with more respect. And these are issues which affect women in all industries and everywhere in the world. If we don’t all do this together, it’s useless.

Cruz with Antonio Banderas, 2019. Photograph by David M. Benett/Getty Images for Somerset House

LUX: Do you have a dream film or television project you would like to direct yourself?
Penélope Cruz: I’ve always wanted to direct. I have directed commercials and a documentary before but hopefully I will be able to do a full-length feature film someday.

LUX: What is it like working with a director such as Pedro Almodóvar, someone you’ve worked with for years?
Penélope Cruz: Pedro is like family; he is very important to me and holds a special place in my heart because he was the reason why I became an actress. I’m excited that we are making a new movie next year.

LUX: What type of music do you enjoy? Is there a track that makes you want to dance?
Penélope Cruz: I’m a big fan of everything that Pharrell Williams does. He’s an amazing producer and songwriter. I also love Eduardo Cruz’s work. He is my brother and we are very close, but I admire his work as a composer and producer so much. He just did the soundtrack for the film Wasp Network.

LUX: Has the past year changed your outlook on life?
Penélope Cruz: We are experiencing a huge moment of social change and I am still processing the transformations that are occurring around us. However, I believe that the values I hold closest – truth, justice and equality, respect for the planet and kindness towards others – will grow in strength. We truly are all one and we have to commit to creating a better tomorrow.

View Penélope Cruz’s designs for Swarovski: atelierswarovski.com

This article features in the Autumn Issue, which will be published later this month.

Ali Behnam-Bakhtiar. Image by Marko Delbello Ocepek.

Iranian-born designer Ali Behnam-Bakhtiar does it all – interiors, architectural design, weddings. Whether large-scale events or private homes, a converted airplane or a château, he runs the gamut from extravagant to minimal with equal flair and imagination, bringing his clients’ stories to life. Torri Mundell reports

Architectural designer Ali Behnam-Bakhtiar is a man on the move. Since 2003, his striking design projects have made their mark on coastlines, private islands, mountainsides and city streets in Europe, Asia and the Gulf, while his events company operates from Dubai, London, Paris and Monaco. The spaces he conceives, from the cargo plane he transformed into an airborne apartment to a spectacular eco-friendly château in Provence and a refurbished 150-metre yacht extended with landscaped green spaces, are equally dynamic. “I think of spaces and events like personal books,” he says. “They are stories that we experience through an introduction, a body and a grande finale.”

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Though Behnam-Bakhtiar claims not to have a signature style, the emphasis on experiencing a space – rather than simply passing through it – is an essential part of his aesthetic. “To create this kind of extra dimension, I am very detail orientated. I study the space carefully, I envision the memories that can be created and I focus on the senses that can be discovered.”

Behnam-Bakhtiar’s floral design for a wedding in Ljubljana, Slovenia. Copyright and courtesy Ali Bakhtiar Designs

Ali Bakhtiar Interiors clients do not commission him to create something they have already seen somewhere else. “Everything I do is one of a kind,” he says. “I don’t hold on to what I have done or what has been done.” Conceiving wholly original designs for every project can be hard work, he admits, but it means that he never caves in to “the dullness of repetition.” Instead, each project is always “a learning process that definitely keeps me challenged and excited.”

Read more: Meet the marine biologist pioneering coral conservation

Behnam-Bakhtiar’s curiosity, extensive research and the relationships he fosters with his clients to “deeply understand their values, wants and needs” all feed into his vision for a project. Every aspect of design is thoughtfully considered to create a harmonious whole, but his spaces are also full of daring, unexpected moments. Consider the château he restored in Provence: he preserved the historic façade and added a self-sustainable modern basement, a pond that irrigates the rest of the estate and a formal dining room with a glass floor that overlooks a garden lavishly planted with lotus flowers. “I believe it is important to embrace modernity as much as ancient knowledge, because something might look cool and new but it also needs to age well,” says the designer about his blend of the traditional and contemporary.

A 2019 house on Saint-Jean-Cap-Ferrat designed with glass walls to make the surrounding forest part of the interior. Copyright and courtesy Ali Bakhtiar Designs

Though the scale of the properties he designs can be vast, Behnam-Bakhtiar imbues his spaces with personal elements as well. “Generally, my favourite events or interior projects are the ones in which I deeply connect with my client, because this is what inspires me to go beyond expectation, and create something ‘out of this world’, a visualisation of their dreams and more.” In the château, for instance, each of the 34 suites was decorated to represent places or moments in time that are meaningful to the owner.

Creating a blueprint that encompasses both grand design moments and personal detail requires a nuanced approach. “Architecture to me is about conserving memory; creating spaces that host our lives but remain in existence beyond it,” Behnam-Bakhtiar continues. “Unlike events, architecture has permanence and so you are not just working on one experience in time, you are working on a timeless structure that impacts repeatedly. I believe architecture, landscaping and interior design need to merge to bring true and lasting harmony.”

He takes his cues from the outdoors to create this harmony. “I used to design houses that stood out from nature,” he remembers. “I now create ones that integrate with nature. The house becomes engulfed by the landscape rather than being simply set in it.” This approach also chimes with the current drive for sustainability. “Much more than ever, we now see nature as something that needs to be integrated in interiors and architecture. Rather than fighting the rules of nature or working against it, which we have done for so long, we are finally starting to see the incredible benefits of an alliance.”

A 2018 house design in Florida with a characteristic Behnam-Bakhtiar blending of natural and built environments. Copyright and courtesy Ali Bakhtiar Designs

The “green and self-sustainable” glass house he designed for a client on a private island epitomises how this can work. In building the residence from scratch, Behnam-Bakhtiar gave it a “system that transmits and observes energy” along with an ultra-modern, sleek exterior and sumptuous Art Deco furnishings.

Read more: American artist Rashid Johnson on searching for autonomy

Similarly, on a property refurbishment in the French Pyrénées, Behnam-Bakhtiar preserved the ancient rocks that predated the house by encasing them in glass boxes and installing a “hydraulic system to make the house ‘convertible’; completely open towards the seascape, on multiple levels. We also created several distinct courtyards and fountains, to give the landscape exciting layers.”

A render of an island house off the coast in Abu Dhabi, with an Art Deco inspired interior in contrast to the building’s ultra-modern minimalist exterior. Copyright and courtesy Ali Bakhtiar Designs

Born in Tehran, Ali Behnam-Bakhtiar was still a child when he moved with his family to Paris after the Iranian Revolution in 1979. He grew up surrounded by art and culture and his parents indulged his drive to “redecorate their interiors on a weekly basis”. Even so, he says, “it was very much a conscious adult decision to develop my creativity professionally.”

His early memories from Iran, particularly before the revolution, “in which large-scale events and gatherings were considered normal” may have informed Behnam-Bakhtiar’s other hugely successful business: event planning. Orchestrating large-scale, fantasy weddings, celebrations and parties is a complementary discipline to his design work but he came upon it entirely by chance. “I was working on the interior design of a palace for a client of mine, whose daughter was in the midst of planning her wedding. Completely uninspired by the process, she had sort of given up on her dream wedding until she coincidentally saw my plans for their winter garden. In love with the plans for the garden, she convinced me to design her large-scale royal-like wedding for 2,500 guests.”

A reception that took place in Hall of Mirrors at the Palace of Versailles. Copyright and courtesy Ali Bakhtiar Designs

Behnam-Bakhtiar’s ability to imagine multidimensional, immersive spaces works as well for one-off events as it does permanent buildings, and working across the two disciplines allows for a beneficial cross-pollination of ideas. “I mix architecture and interior design with event planning, and do things that have never been seen or done before. This has allowed me to evolve and remain modern. I embrace the future and the process of change and growth.” In 2019, Ali Bakhtiar Designs was named “best wedding planner in the Middle East” at the Destination Wedding Planners ACE awards, and in the same year the company won an honorary award at the Influencer Awards Monaco.

As with his architectural designs, the events he designs are inspired by their setting. “The location and not the budget is what creates the possibilities,” he says. What would he conjure up for a wedding at a castle with an unlimited budget? “I’d probably create a sunset moment, curate different areas so there is movement and a multi-layered experience of the castle. I would also do something with the façade, so the guests can view it differently throughout the evening.”

Read more: Why the market for modern classic Ferraris is hot right now

He is delighted to be commissioned for wedding and parties abroad. “Like creating a world from scratch, the entire infrastructure is purposefully built and specifically curated for the event, in the middle of nowhere.” The possibilities are endless, he points out, describing a beautiful event he planned on “a private island lit by 50,000 candles. The guests arrived by raft laid with beautiful flowers and in the middle of the island, we created a pond and fountain on which the gala’s dinner tables floated.” More unusually, Behnam-Bakhtiar also oversaw a divorce party on a cruise ship.

As with his design projects, Behnam-Bakhtiar and his team ensure they have oversight of every detail. “The design of the food, the uniforms, the bar; anything that has to do with the visuals, the service, the presentation… To me an event is never just about decoration, it is about continuous implementation; everything needs to run smoothly and as we visualised it.”

An impression of flower-covered columns for a wedding at the Basilica della Santissima Annunziata in Florence, January 2020. Copyright and courtesy Ali Bakhtiar Designs

A rendered image of a tunnel of flowers for a wedding in Cape Town, 2020. Copyright and courtesy Ali Bakhtiar Designs

With high-profile architectural and interior design clients and starry party guest lists, discretion is part of the Ali Bakhtiar Design service. He will not be drawn on the high profile personalities that have commissioned him. “We work with a lot of different people including celebrities and royalty, but under no circumstances do we share our clients’ names, whether we signed confidentiality agreements or not. We pride ourselves on being private.”

Word, however, is out – partly because of the design company’s huge international reach. “We go where our clients are, so it was only natural to expand,” Behnam-Bakhtiar explains of his company’s outposts in Dubai, London, Paris and Monaco. The company does not promote its productions but exposure has come nonetheless through guests’ photos on social media. And who can blame them? The vast hall filled with reflective ponds and dancing LED lights for a party in Shanghai and the arcade of pink roses for a church wedding in St Barts demanded a selfie. “Much of the current exposure of our work is not just because we have expanded but also because it is shared,” Behnam-Bakhtiar agrees.

A digital impression of a 2019 building design in Switzerland that brings nature into the heart of the home. Copyright and courtesy Ali Bakhtiar Designs

Like the architectural design industry, the events business is also becoming more mindful about expenditure. “I would like to see more consciousness around long-term trust and a sustainable use of funds,” Behnam-Bakhtiar asserts. “Rather than creating an event for the budget and exhausting funds, we now look at what we need for the event. This means we spend less on unnecessary things, so that these funds can be used elsewhere or go to charity.”

Behnam-Bakhtiar’s diligence is even more relevant in a post-Covid era. “Events of up to 7,000 people are postponed for at least a year,” he says, “but the smaller events are starting to take place now, in a more down-sized manner. We’re on stand-by, like the rest of the world.” With his vivid imagination, a roster of international clients and almost two decades of experience, he won’t be standing by for long.

Find out more: alibakhtiardesigns.com

This article features in the Autumn Issue, which will be published later this month.

Tom Dixon’s Fat chairs, Beat pendant lights and Tube table. Image by Peer Lindgreen.

Millie Walton speaks to four design leaders – Bentley’s Stefan Sielaff, Gaggenau’s Sven Baacke, Tom Dixon and Cristina Celestino – about innovation, sustainability and the evolution of their industries

TOM DIXON
British designer and founder of the Tom Dixon design studio

Tom Dixon

“After trying art college for six months, I broke a leg in a motorcycle accident and gave up education in favour of a career as a bass guitarist in a disco band. After another fortuitous motorcycle accident, I was unable to join the band on tour. I discovered welding and, driven by my enthusiasm for making functional forms in metal, I began a series of radical experiments in shape and material. There is a freedom in music that I transferred to design.

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“I rarely think of the final shape of an object or the surface before I start. I’m always thinking of the material possibilities, the potential of the factory and the structure of the object, which means that I’m a vertebrate designer rather than an invertebrate! I’m obsessed with how you make things and what they are made of. My style is reductionist and constructivist, meaning I try to make things as simple as possible.

“It’s hard to not be overwhelmed by outside influences. It’s important to develop your own design personality. I avoid looking at design and look at art, industry, cooking, science and nature.

“A designer has to work on the edge of their comfort zone, to use new processes or materials or shapes or new functions to create something new. They have to be in the present.”

tomdixon.net

The Back Home furniture collection designed by Cristina Celestino for Fendi Casa. Image by Omar Sartor

CRISTINA CELESTINO
Architect and designer, founder of Attico Design

Cristina Celestino

“When I design a product, a chair or a lamp, I start by thinking not only about the single item, but also about the whole mood, and where it could be settled within an interior. I pay a lot of attention to the proportions and scale. For me, there is not much difference between designing an interior or a piece of furniture; in the end they must both have strong personality and power. Details are always what matter most. Every last finish, all the colours and fabrics, must be perfect and work together. What’s important is the coherence of the story that you are telling.

Read more: Gaggenau is bringing global attention to regional artisans

“The way we approach design and, in particular, architecture should be definitely changed by the theme of sustainability. Nature should be protected and valued like an infrastructure that is always ready to help us when needed. In the furniture and interior design fields, I work with sustainability at different scales. It is not enough to use the ‘right’ or eco-friendly materials if they are not related to the design or to the success of a project.

“Sustainability should be part of all logistic and manufacturing processes, not just about the final product itself. This is why I pay careful attention to the materials I use, from their sourcing to the geographic location of suppliers and the manufacturing techniques.”

cristinacelestino.com

The 2020 redesign of the Bentley Bentayga. Courtesy of Bentley Motors.

STEFAN SIELAFF
Director of design at Bentley Motors

Stefan Sielaff

“Our customers expect a luxury product, manufactured with integrity. They want a unique, timeless piece of art that they will feel happy with for many years; an object that does not age from an aesthetic point of view so that it can be passed on to their daughters or sons. Bentleys are a fusion of the best. The sporting aspect of Bentley models is historically in our genetic code, but we don’t design, engineer and manufacture sports supercars in the common sense. The power in our Bentleys is not for showing off, it is discreet and sophisticated.

Read more: Looking back on 125 years of Swarovski and into a new era

“Very often the source of inspiration comes when we are in a team setting and sparks a whole series of design concepts, not only with me, but with the whole design team. This works like a chain reaction. If the idea is really good, there is a natural flow in the team.

“Car design will change dramatically in the next 10 years, as the car industry itself will also change. There will be new and completely different challenges from a technical as well as social acceptance point of view. The mind-set will change especially for luxury cars just as it will in the luxury industry as a whole. Sustainability is a key factor already within the Bentley brand, and it will continue to be crucial to the driver and passenger experience.”

bentleymotors.com

Gaggenau’s 200 Series combi-steam oven. Image by BJP Photography Ltd

SVEN BAACKE
Head of design at Gaggenau

Sven Baacke

“In my opinion, there is no such thing as timeless design because design is always in the context of people and the time in which it is bought and made. I call Gaggenau’s design approach traditional avant-garde. The brand has a heritage of over 300 years, but on the other hand, it has always been looking to the future and doing things that other people thought would never sell. Balancing these two things is in the DNA of Gaggenau, but what we have done in the past two years is to think about the traditional and the avant-garde in the extreme. One extreme could be that in the future there is no kitchen at all.

Read more: How Andermatt Swiss Alps is drawing a new generation of visitors

“We have been thinking about megacities where space is a luxury and about the future of housing more generally. What does it mean when luxury comes in a nutshell? What is compact luxury living? What will happen if the whole kitchen becomes even more invisible when not in use? What happens if people don’t go to work anymore, but work from home?

“The other major question is: can luxury be digital or is it always analogue? At the end of the day, I believe that the kitchen is still and always will be the heart of the home. We will still gather around a fireplace even if it’s a digital one in the future.”

gaggenau.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

Loquet’s London shop located at 73 Elizabeth Street, SW1W 9PJ

London-based jewellery brand Loquet is renewing the concept of a keepsake locket with sustainable, modern designs that consumers can personalise and pass through the generations. Here, Abigail Hodges speaks to co-founder Sheherazade Goldsmith about the brand’s ethical ethos, her love of vintage fashion and collaborating with the Wild at Heart Foundation

1.How does your environmentalist background inform your approach to making jewellery?

Sheherazade Goldsmith

I’d say it informs everything. Environmentalism isn’t something you frequent; it’s a way of life and seeps into everything you do. Once you understand the repercussions of not protecting our future and that of our children, it’s impossible to ignore. As a fine jewellery collection, Loquet is part of a luxury world and to me, luxury is sustainability. Our process informs that message by taking the time to source the very best materials, crafted with care and implementing practices that create longevity. Our jewellery is for the generation that makes the purchase, the next generation and the generation after that. It’s about preserving someone’s story to be told, treasured and passed on. At Loquet we are preserving what is important to an individual, without sustainability there would be no point in what we create.

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Our first port of call is the office itself, we use recycled or recyclable materials wherever we can, and we create a product that has no existential timeframe, it is recyclable and has no waste. The problem with so much of what we consume is the waste, but in jewellery there are no seasons and the sentimentality of the pieces make them heirlooms.

2. What inspired you to reinvent the classical locket form?

I already had a classic photo locket and a charm bracelet. My locket was an Indian antique made in 18kt yellow gold with elaborate coloured enamelling on the inside. I love Indian jewellery for this reason. They believe that everything should be as beautiful on the inside as it is on the outside. My charm bracelet was fun and gregarious, full of charms that patted against my laptop keyboard. On a visit to a fairground my son bought me a present, a pendant made with dried flowers, something I use to do with hedgerow flowers when my children where little. It inspired the idea of being able to combine the two and personalise it myself.

The hexagonal locket with a selection of charms

3. Is there a particular piece that you feel best expresses the story you set out to tell through your work?

Our sapphire crystal lockets are our signature. They allow our customers to be there own designer and create a piece that tells their story, in essence a unique talisman of everything that brings them luck and makes them smile, to be worn close to their heart. We’ve recently relaunched our 14kt collection to include some of my favourite pieces to date, that elegantly translate from day to night. Each of these geometrical shapes is hand cast in 14kt gold encasing a clear faced sapphire crystal facade and can be opened to personalise with our endless selection of meaningful 18kt charms.

A selection of charns

4. How do you ensure that the elements of your design process are ethical?

I spent a lot of time visiting jewellery studios all over the world before deciding to work with our current ateliers. This was to insure that the working conditions where healthy and vibrant, and to also talk through the designs with the artisans that were selected to make our jewellery. The companies I ended up choosing are all members of the responsible jewellery council or similar organisations and are, therefore, required to adhere to certain workers rights and high environmental standards.

Read more: British-Iranian artist darvish Fakhr on the alchemy of art

The human connection behind what we do is paramount to the Loquet design. Our pieces are emotional and as such need to be made that way. So many of us jewellers won’t work with a company unless they have the same ethos and it’s important to champion those that have worked hard to campaign for their workers and implement high standards that look after both their employees and the environment.

Loquet’s pear and hexagonal locket necklaces

5. Besides purchasing from you, how would you advise a consumer looking to shop more sustainably?

Sustainability is about longevity and well-designed things don’t have seasons. Whether that be furniture, clothing, accessories or jewellery, if something is worthwhile it will last through time and trends. With luxury items, less is most definitely more and that is my philosophy both in the way I decorate my house, my jewellery and wardrobe. Admittedly, I wear mostly designer clothing, but much of it is purchased from secondhand websites such as Vestiaire Collective, Hardly Ever Worn and The Real Real. I love vintage fashion, but you can also find all kinds of past-admired items for a quarter of the price. The buying and selling aspect makes you feel part of a community, almost like an exchange and gives your clothes a limitless life.

6. What’s next for Loquet?

We have a very exciting year ahead with some brilliant collaborations. The first launches in October with Nikki Tibbles and the Wild at Heart Foundation. We have put together a charm collection of Nikki’s favourite flowers chosen for their association with her beloved dogs, each epitomising the way we feel about our pets. A percentage of all sales will be donated to her very special dog charity that was set up a few years ago after rescuing a stray from the streets of Puerto Rico, who became her beloved Rose. The charity is now global and works tirelessly to end the unnecessary suffering of these much-loved pets.

Find out more: loquetlondon.com

A dining room interior by SKIN. Image by Andrew Miller Photography

Founded by interior designer Lauren Lozano Ziol and graphic designer Michelle Jolas, SKIN is a luxury interior design studio that offers its clients the opportunity to accompany designers to furniture markets, design shows and antique shops. Ahead of the studio’s London launch, we speak to Lauren Lozano Ziol about the business concept, her inspirations and designing spaces to promote positivity

Lauren Lozano Ziol (right) with Michelle Jolas

LUX: How did the concept for SKIN first evolve and who’s your target customer?
Lauren Lozano Ziol: Since Michelle and I first met over a decade ago, we have succeeded in pushing each other out of our respective comfort zones of graphic design and history of art, allowing us to continually challenge style boundaries. When we founded SKIN in 2017, we bonded over our love for materials that can be used in design. There are so many exciting and interesting ways to use materials such as cowhides, shagreen, snakeskin, leather, fabrics, veneer and so much more. Wallpaper is another critical consideration for us, in the past, we contemplated creating a wallpaper line, and the name ‘SKIN’ was a fun play on all of the above. As we considered what SKIN as a company meant, we realised the meaning is profound – it’s your outer layer, what you show to the world, it’s inner and outer beauty, it’s diversity – this led us to name our website skinyourworld.com.

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Our target customer is a discerning client who appreciates the beauty of high-end, quality interiors and materials, with a shared interest in art and furniture history, who isn’t afraid of mixing period pieces and jumping out of their comfort zone to create unique, elegant and sophisticated interiors. Also, a client that likes to have fun with the process.

LUX: What’s your creative process when you start on a new interiors project?
Lauren Lozano Ziol: Firstly, we learn about the client, who they are, what they like and what inspires them in their daily lives so that we can understand their needs. The creative juices then start flowing. We create vision boards, art collection ideas and materials. We lay out the floor plans and make sure the scale is perfect, we then select potential furniture, sketch ideas and pull it all together with renderings to show the client. We love being in the client’s space with all the materials. Colour and texture, lighting and luxurious material all play a synchronised role in the complete design. When we present to a client, we love to collaborate with them, it sparks creativity and new ideas.

A private residence project by SKIN. Image by Andrew Miller

LUX: In terms of the design side of the business, is it important to have a style that’s recognisably yours?
Lauren Lozano Ziol: Yes, and no. Yes, in terms of being refined, elegant, timeless, classic and chic – whether the interior is modern or traditional. However, every client is different, so we like to explore what that means to the project and not box ourselves into one look. We want each project to be unique.

Read more: Two new buildings offer contemporary Alpine living in Andermatt

LUX: Is there a design era that you’re particularly drawn to or inspired by?
Lauren Lozano Ziol: French 40s and Art Deco in terms of style and materials. We also adore Maison Jansen.

Library design by SKIN. Image by Andrew Miller

LUX: How much of a consideration is sustainability?
Lauren Lozano Ziol: Very much so, our environment has never been more important, so we work together with architects and contractors to bring the right materials that are long-lasting and good for the planet. Now more than ever the need for healthy communities, clean air and non-toxic environments is paramount.

LUX: Why do you think lifestyle services have become more desirable in recent years?
Lauren Lozano Ziol: We firmly believe that environments influence how you feel. They have the potential to promote creativity and help make you your best. If you like the space you’re in, you feel happier amidst the disruption of Covid-19. The well-being achieved from a well-thought-out, organised home can have long-term positive effects on the whole family.

Read more: Three top gallerists on how the art world is changing

LUX: Are your excursions designed to inspire or educate, or both?
Lauren Lozano Ziol: Both! We make a list, head off to explore and see what catches our eye. We love talking about the history of pieces when we go on an excursion, but ultimately, we settle on what speaks to us and inspires our project goals. The day can end very differently to what we set out to accomplish because there are always hidden gems and treasures to find along the way.

LUX: Should good design last forever?
Lauren Lozano Ziol: Yes, our philosophy is “timeless, classic, chic with an edge” which allows us to create an ageless design yet pushes us to look for new and exciting trends.

LUX: What’s next for you?
Lauren Lozano Ziol: Our London launch, which we are so excited about. We are ready to meet new and interesting clients and breathe life into amazing projects. Again, our environments have never been more critical, and we are ready to take on our new adventure.

Find out more: skinyourworld.com

One of the luxury apartments in the Arve building with spectacular views of the surrounding landscape

Two new apartment buildings in the Swiss village of Andermatt offer the calm and luxury of contemporary Alpine living. LUX speaks to the architects behind the designs

The historic village of Andermatt is fast becoming one of Switzerland’s most desirable year-round destinations offering a variety of winter and summer sports, activities, dining options, and accommodation. Located in the village’s car-free area known as Andermatt Reuss, Arve and Enzian are the development’s latest apartment buildings, designed to harmonise with the traditional alpine setting whilst catering to a contemporary luxury lifestyle.

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Designed by CAS Architects, the Arve building comprises 17 apartments with spectacular views of the village and surrounding mountains whilst the Enzian building comprises 12 apartments designed by Swiss architecture firm Schmid Generalunternehmung. Here, Michael Häfliger of CAS Architects and Men Vital of Schmid Generalunternehmung talk us through the design concepts for each property.

What inspired the design intent for Arve and Enzian, and what differentiates the two properties?

Michael Häfliger: In the design for Arve alpine tradition meets contemporary with clear forms and natural charisma. We have combined cosy ambience, warmth and rustic security with the need for high comfort. 
These exclusive apartments are as dignified and enduring as the Swiss pine trees after which the building was named (Arve is the German name for the Swiss pine). Much like the noblest tree in the mountain landscape, the Arve Chalet Apartments offer spectacular views of the world below.

Read more: Three top gallerists on how the art world is changing

Men Vital: The Enzian Alpine Apartments are styled on modern Alpine villas. We wanted each apartment to provide the ideal place to sit back and unwind after an active day in Andermatt, with an atmosphere as calming as the Alpine herb after which the building is named (Enzian is German for “gentian”). Some of the apartments feature a fireplace and sauna, and some boast a private roof terrace or a garden terrace on the raised ground level. The private gardens are raised above the level of the adjacent paths, allowing residents to relax in privacy whilst the interiors are designed to fit all the needs of a peaceful Alpine lifestyle.

Arve’s apartments combine alpine tradition with contemporary furnishings

How much of a consideration was the resort’s heritage and commitment to sustainability?

Michael Häfliger: When developing the design for Arve, we greatly considered the inclusion of the local conditions and the extraction of the resort’s identity by creating features as important prerequisites during the planning. The urban structure of the central zone of Andermatt does not follow an orthogonal grid and does not show any symmetry. Crystalline building forms, narrow and wide alleys merge into an urban density and create spatial tensions. We have taken up and adapted this atmosphere with the building structure. The interior of the building does not follow a grid either and arranges the apartments in a free structure whilst the external appearance takes up elements that are typical for the location, such as bay windows, stone plinths or wooden facades, and translates them into a contemporary form.

CAS Architects have been committed to sustainability in its mission statement for years. Conscious use of resources is a matter of course for us and has also led to efficient processes and procedures at Arve. The building materials and construction materials were procured as far as possible in the Ursern valley and the landscaping consists exclusively of local plants. Arve also meets all the criteria of the Minergie standard and is certified accordingly. High-quality external insulation and a ventilated wood cladding façade underline the sustainable energy concept.

Here and above: Enzian apartments feature luxurious interiors with unique detailing such as parquet flooring

Men Vital: The design of the Enzian building took the specifications from the architectural competition into account and buildings will be constructed to the Minergie standard with controlled ventilation. Mineral-insulated rock wool has been used for the façades, which is a high-quality, non-combustible material with a high sound insulation value. The use of fibre concrete is similar in quality to natural stone and the flat roof is extensively greened, which increases the outflow of water and helps to create a better ambient climate.

Can you talk us through some of the materials that were used for the interiors?

Michael Häfliger: High quality and timelessness underline the Alpine character and so precious and durable materials such as wood, natural stone, glass and steel dominate the design of Arve.

Read more: Meet the winners of Prince Albert II of Monaco Foundation’s awards

Men Vital: Durability and quality were taken into account when selecting materials. For example, we used parquet flooring and wet room panels with an oriental-style design.

The open-plan living space in one of Arve’s apartments

How do the designs fit into the larger Andermatt Swiss Alps development?

Michael Häfliger: With Arve, the Alpine tradition of Andermatt is continued, and the chalet style is interpreted in a modern, self-confident way. The exclusive apartment building is strongly reminiscent of the character of the Arve; it takes up the sublimity and tranquility of the pine tree and creates a clear reference to the surroundings. The house has an unusual form that creates exciting exterior and interior spaces.

Men Vital: Enzian house is distinguished by its cubic architecture with a frescoed roof, bay window, loggias, and plinth. This is further emphasised by the window partitions in sandstone look, which are reminiscent of a traditional patrician house. It sets an extraordinary accent within the Andermatt Reuss area of the resort due to its architectural form and its lower height compared to the neighbouring properties. In terms of colour, the house is based on the wider surroundings; it is like a rock covered with lichen.

Find out more: andermatt-swissalps.ch

Giorgio Armani. Courtesy Giorgio Armani

The designs of fashion superstar Giorgio Armani have become synonymous with the relaxed yet restrained and sophisticated style that has, over the nearly half century he has been in the business, transformed Italian tailoring. Harriet Quick talks to the legend about his global empire, which spans womenswear, menswear, interiors, hotels and more

Even with increased life expectancy and delayed retirement age, there is only a tiny percentage of us who, at the age of 85, will wake up every morning motivated by the prospect of a full days’ work. That Giorgio Armani is in charge of a multibillion-euro company, more than 7,000 employees and owns a personal property portfolio of nine houses (plus a 65m superyacht named after his mother’s nickname, Maín), a personal fortune estimated at 6 billion euros and a whip-sharp brain makes him that rarity.

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Who does he see in the mirror each morning? “I see a man who, through sheer hard work, has achieved a lot, turning a vision of style into an all-encompassing business. This assumption might sound like an overstatement, but it is a matter of fact,” says Mr Armani (Mr is his preferred address), dressed in his ‘fashion-worker uniform’ of blue sweater, cotton trousers and white sneakers. “And yet, in spite of all my achievements, I still feel the fire. I am never content – I am always challenging myself. That’s how I keep young and aware, by always raising the bar a little higher,” he says.

In January 2020, Armani will have presented Giorgio Armani menswear during Milan fashion week, the Armani Privé collection during the Paris haute couture collections and overseen looks designed for celebrities attending the Golden Globes, the Oscars and the Baftas. He also picked up the GQ Italia Award in January in swift succession to the Outstanding Achievement Award that was presented to him by Julia Roberts and Cate Blanchett at the British Fashion Awards in December 2019. By way of acceptance, he simply gave a big thank you while Blanchett added, “Mr Armani is a man who prefers to let his clothes do the talking”.

Armani with his mother Maria in 1939 (top), and with his partner Sergio Galeotti. Both images courtesy of Giorgio Armani

The new decade marks forty-five years in the business during which the Armani brand has grown from a seedling collection of subtle, relaxed men’s suiting into a global powerhouse that encompasses 11 collections a year (including Privé and Emporio Armani) fine perfume and cosmetics, underwear, eyewear, denim, interiors, furnishings and hotels. Armani, who is the CEO and creative director, remains the sole shareholder making him, alongside the Wertheimer family that owns Chanel, Sir Paul Smith and Rei Kawakubo of Comme des Garçons, one of the last remaining fashion industry founder/owner titans. Ralph Lauren stepped down from his role as CEO in 2015.

“A vision like this takes a long time to be fully developed. The slow growth made it organic and all encompassing,” says Armani. “I had the first glimpses that style could turn into lifestyle back in the eighties, sensing that my philosophy could be applied to many different fields. Across the nineties, as the business grew, I started adding new elements, be it furniture, restaurants or hotels. My intention today is to offer a complete Armani lifestyle. New things can be added all the time. The vision has not changed over the years, it has grown, evolved and expanded,” he says as if observing the horizon line. But the roots were set firm and fast. In the first year of trading (1976) the turnover was $2 million. With Italian producer GFT and American know-how, Giorgio Armani and his right-hand Sergio Galeotti learnt how to manufacture and distribute at scale. In 1981, Emporio Armani was launched offering denims and sportswear at accessible prices and emblazoned with the graphic triumph that is the EA eagle.

Read more: How Hublot’s collaborations are changing the face of luxury

Armani’s lifestyle vision of pared-down elegance (in shades of aqua and greige) has proven as enduring as the bewitching romance of Pantelleria, the tiny island that lies off the coast of Sicily. The myth of Armani seems to predate the man himself, reaching back through the 20th century into some misty pre-industrial past and lurching forward into a tonally harmonised borderless utopia. In Armani’s universe, shapes, moods and memes may change, but not excessively so and one would be hard pushed to date one collection versus another. In this age of responsible luxury and sustainability, that interchangeability is now again being considered a virtue rather than a freakish anomaly. The brand, which Armani describes as a ‘physiological entity’, speaks of constancy, grace, strength and good health seemingly impervious (or very well sheltered from) the rude chaos of real life, just like the founder himself. The allure of Armani’s serene aesthetic harbour (in jackets and the best-selling Luminous Silk Foundation alike) seems to grow in inverse proportions to the spiking rates of anxiety and turbulence in the world.

Armani at the 2019 British Fashion Awards with, from left, Cate Blanchett, Julia Roberts, Tom Cruise and Roberta Armani. Photo by Stefano Guindani

Yet upheaval, tragedy and human destruction is part and parcel of the Armani story. Young Giorgio (one of three siblings) grew up in poverty-stricken postwar Italy, in the town of Piacenza, near Milan. Food, healthcare, building materials, fuel and clothing were in short supply. Bombing raids were imprinted on his childhood memories as were the visits to the local fascist HQ where his father worked as an office clerk. Armani distanced himself from the ideology and the relationship (his father died when he was 25) decades ago. “We had little, very little, so we treasured what we owned. My mother was wonderful in that sense: we were always impeccable, even if we did not have anything to show off. It was all about being clean, being proper. I’d call it dignity,” he reflects. The autumn/winter 2020 menswear collection, with its distressed-leather donkey jacket, soft shouldered tweed suits and shearling mountain coats and combat boots, had strong echoes of wartime civvy and military garb, albeit in luxury and technical materials.

“As industrialisation grew, we came into contact with new stuff. I remember my first incredibly stiff pair of blue jeans and I immediately felt like James Dean. As the economy boomed we all became eager for more. The social fabric disintegrated a bit and being modern became a must. That’s when I really understood the power of clothing – it’s the first projection of the self into society,” he continues. To note, Giorgio Armani SpA was one of the first brands to enter the Chinese market – he has an innate understanding of aspiration.

Read more: Van Cleef & Arpels CEO Nicolas Bos on the poetry of jewellery

Like Ralph Lauren, Armani received his fashion training on the shop floor at the swish Milanese department store, La Rinascente. “I was dressing windows and working as a buyer. I got to observe people, and that was an invaluable lesson. Milano at that time was a bursting, innovative city and people were constantly on the lookout for something new. I developed a passion for fabrics and shapes. Then I had the privilege of working as an apprentice with Nino Cerruti, where my career truly took off. I quickly started to develop strong, personal ideas. It was Cerruti himself – to whose foresight I owe a great deal – who asked me for new solutions to make the suit less rigid, more comfortable, less industrial and more tailored,” says Armani.

It’s hard to imagine in our century of casual how modern and desirable the deconstructed jacket and roomy fluid trousers on which Armani made his name would have appeared. But his work to soften the silhouette was as impactful as Coco Chanel’s cardigan jacket on women’s fashion. The silhouette was not only ‘comfortable’, it also projected a certain sense of cosmopolitan ease and adaptability, qualities that were in keeping with a flourishing economy (cars, furniture, fashion, fabric, lighting) and the birth of the ‘Made In Italy’ pedigree.

“By deconstructing the jacket, I allowed it to live on the body, using far from traditional fabrics. That principle is the one I used to build my own brand. Suiting at the time was very stiff. Women, in the meantime, were making progress in the work place and needed a new dress code: ‘ladylike’ was not suitable for the board meeting. I made the suit suitable for men on the lookout for something more natural and for career women. I sensed a need and offered a solution. The rest, as they say, is history,” says Armani, who is wont to gently shrug his shoulders.

A look from the Armani AW14 advertising campaign. Image by Solve Sundsbo

“I think Armani’s success is due to his fashion and the images that went with it,” says Gianluca Longo, style editor at British Vogue. “He personally art directed the advertising campaigns and created the Armani style. He hit the American and the Japanese markets in the booming 80s and the Armani suit became a symbol of success at work. For men, it was a relaxed style and for women, a structured jacket that was still elegant and feminine in the cut.”

Armani’s success is rooted in a close group of loyal collaborators that were particularly effective in navigating the closed-shop Italian fashion business. “Sergio Galeotti has been the pivotal figure for me. He was the one who pushed me to go on my own and who was also by my side to manage it all. When he passed away [in 1985] I had to take my destiny into my own hands. Finally, that was his biggest push. I would not be where I am now without Sergio. I owe a lot to many people I have met across the years, especially Leo Dell’Orco, but I am a truly self-made individual,” he says. He also cites his mother Maria as a mentor: “She taught us the importance of taking care of yourself as an ethical choice. The idea of achieving so much with so little left a lasting impression on me.” Even at 85, he exercises for 90 minutes daily.

The Amal restaurant at the Armani Hotel Dubai.

In his professional life, he cites John Fairchild (founder and editor of WWD) and Karl Lagerfeld as mentors. He admits he is not easy to get on with in terms of journalistic portrayal (he is succinct to the point of being terse) but does remember Jay Cocks’s 1982 Time profile. The cover bore the headline “Giorgio’s Gorgeous Style” and featured the leather-jacketed designer in his own incarnation of James Dean. This was also when Armani took on American retail (Barneys was one of the first stores) and then Hollywood. Leonardo DiCaprio (The Wolf of Wall Street), Kevin Costner (The Untouchables) and Richard Gere (American Gigolo) are among the early pin-ups in a line-up of celebrities looked after by a highly active VIP and Entertainment division overseen by his niece, Roberta Armani.

Read more: Discovering Deutsche Bank’s legendary art collection

In the leagues of big business, a beige Armani suit (in fluid crepe wool) became the uniform of choice for a generation of female leaders, president of Bergdorf Goodman, Dawn Mello, and first ladies included. Today’s soft-power designers, including The Row and Gabriela Hearst, share a surprising amount in common with Armani’s aesthetic. Where peer-group brands built billion-dollar businesses on accessories, Armani’s strength has always been clothing. The cohesive brand architecture works from top to bottom with a bespoke velvet tuxedo on Brad Pitt boosting everyday entry-level purchases of underwear and scent. For the best part of the 1980s, Gianni Versace, Giorgio Armani, Gianfranco Ferré and Valentino Garavani ruled the Italian fashion business before Gucci was resurrected and Miuccia Prada launched into ready-to-wear.

Working at Giorgio Armani SpA is not for slouches. Team Armani work with military precision, expertly choreographing Armani’s interactions with press and dignitaries while exuding brand values 24/7. The notion of a team is always emphasised over individual stars and the same is true of the catwalk presentations and campaigns. The models are rarely supermodels or names but appear as a lithe army, with naturalistic make-up, hair and gestures and clothes that blend in with the wearer. “The founding principles of my company are based upon autonomy and independence,” says Armani. “Jobs might be short lived today, but not in my case. My first employee, Irene, still works for the company.” The Armani Group’s reach has been impacted by a flood of street-credible brands, including Balenciaga, Off White, Burberry and Kim Jones at Dior. In 2016, revenues dropped by five per cent (estimated at 2.51 billion euros) and various strands of the business were given a sharp nip and tuck to refocus on core values.

Furniture in the Armani/Casa 2019–20 collection at the Salone del Mobile in Milan. Image by Fabrizio Nannini

As a private company, rumblings and frissons behind the scenes are hard to detect. The Armani world is elegantly orchestrated, from the polished-concrete Armani HQ in Milan designed by Tadao Ando to the flagships, many designed by architect Claudio Silvestrin, and the low-rise converted dammuso on the island of Pantelleria where Armani has a holiday home. “Clothing is about the space between cloth and body, architecture is about the space in which the body moves. I do not see many differences, and I think soulful simplicity always wins,” says Armani. And tactility. “The virtual is cold. We need to touch things, we need to make bonds.”

Read more: Inside Sassan Behnam-Bakhtiar’s Saint-Jean-Cap-Ferrat studio

“Mr Armani is a very loyal person, he relies on his close friends and has an acute sense of humour,” says Longo who last year was invited onto the superyacht, Maín. “That always helps. And he still loves to be involved in everything that he sees around him. From a button on a jacket, to the cutlery on a table.”

The spring/summer 2020 collection of misty fog and aqua cadet suits and cloud-like organza-topped shimmering gowns was dedicated to Earth, echoing this era’s concern over climate change. The company has been a supporter of Acqua for Life for more than ten years alongside other charities supported by the Giorgio Armani Foundation, set up in 2016. As fashion goes through epochal changes in purchasing behaviours and attitudes, the business will be remarkably different in ten years’ time.

Richard Gere in American Gigolo (1980), and Andy Garcia and Kevin Costner in The Untouchables (1987), for both of which Armani designed the costumes

“The outlook for the fashion business and the outlook for fashion are two separate issues,” Armani says. “Fashion, I feel, has a great future, as people are becoming more and more confident in making decisions about what to wear based on what suits them, and are also becoming better educated in matters of style. The fashion business, on the other hand, must adapt to this new situation, and the fact that consumers are able to access new ideas from their digital devices at any hour of the day, anywhere in the world. How to best respond to the new landscape hasn’t changed – make clothing and accessories that help people fulfil their potential and look their best and bring out their characters.” The focus should be on style, not trends, he argues. “And you should have your own vision and viewpoint as a designer. If you do these things, you will be successful. Consumer behaviour may change, but why people buy fashion in the first place will not.”

On the matter of succession plans, Mr Armani remains a closed book. The internal leaders are likely to be in place. “Freedom gives me pleasure. I experience it in my business, as I am still my own boss. I experience it in my boat, suspended between the sky and the sea.” One intuits that this sense of inner peace has been hard won yet the reaching for it is what drives the Giorgio Armani brand.

Discover the collections: armani.com

This article was originally published in the Summer 2020 Issue.

Hublot ambassador Maxime Plescia-Büchi. © Hublot SA

Hublot is celebrated for being the most pioneering and original brand in the world of haute horlogerie. The first watch brand to sponsor international football, the first watch company to make an all-black watch with black dial, numbers and hands, the company famously mixes precious and base metals and materials in its timepieces, and counts sports stars and athletes on its roster of fans. Its partnership with London-based Swiss tattoo haute artiste Maxime Plescia-Büchi takes luxury to a different dimension, as Millie Walton discovers through a conversation with CEO Ricardo Guadalupe

Next year Hublot will celebrate its fortieth anniversary. In the world of Swiss watches, that roughly equates to early adolescence, but, as Hublot’s chief executive Ricardo Guadalupe assures me, “You can be young and have success”. This, in fact, neatly sums up the brand’s aspirational ethos and hugely successful marketing strategy. Through select partnerships with the likes of Usain Bolt, Richard Orlinski, DJ Snake and Maria Höfl-Riesch, the brand has developed its own culture encompassing everything from music, sport, cars and contemporary art to luxury destinations such as Courchevel, Zermatt, Saint-Tropez and Mykonos. The idea is, as Guadalupe puts it, “to create a universe of Hublot”.

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Today, the brand has 4.8 million followers on Instagram, which is not only reflective of their young consumer base – 60 per cent of Hublot’s customers are aged between 20 and 40 years old – but also the changing nature of luxury itself. “The young generation don’t have in mind which are the standard brands of [the luxury] industry. When you’re older, you’re less likely to move to another brand, your choices are already made,” explains Guadalupe. “That’s why we speak to very young consumers, as young as fifteen. We want them to one day dream of getting a Hublot watch.”

The Big Bang Sang Bleu II in titanium pavé

This forward-thinking approach is most clearly demonstrated in Hublot’s choice of collaborations and specifically, the brand’s decision to associate with the art world and notable figures from contemporary urban culture such as renowned tattoo artist and designer Maxime Plescia-Büchi who has now been collaborating with the brand for just over four years. “I think they really took a chance on me at every level,” says Plescia-Büchi, but as a Swiss national, watches were already an integral part of the designer’s identity well before Hublot came along. He recalls flicking through adverts for early luxury sports watches in his collection of vintage National Geographic magazines and even once interviewed Jean-Claude Biver (the former president of LVMH Watches and chairman of Hublot) for an issue of a magazine that he was then running. Nevertheless, receiving an invitation to design the iconic Big Bang must have been exciting.

Plescia-Büchi at work on the Big Bang Sang Bleu

“I prepared some quite radical designs alongside some more conservative options,” says Plescia-Büchi, reflecting on the design process of his first timepiece, the Big Bang Sang Bleu. ‘To [Hublot’s] credit, it was 100 per cent their decision to go with the weirder one.” With a few adjustments – “we had a lot to do in terms of translating how to make [the 2D design] into a watch” – the timepiece launched in 2016 with an initial run of 200 pieces. Crafted largely from glass and titanium, the Big Bang Sang Bleu was a celebration of pure form and geometry, taking influences from architecture, philosophy and Plescia-Büchi’s own tattoo designs. The original idea was to feature the geometric pattern printed onto the watch face with the hands on top, but the designer envisioned more depth and suggested using the shapes as the hands themselves. Given the delicate art of watchmaking, the final version, which features three octagonal discs instead of hands to indicate the hours and minutes, is a huge achievement. “Seeing the watch finished,” Plescia-Büchi admits, “was the closest thing to having a child.”

Read more: Princess Yachts CEO Antony Sheriff on a new generation of yachting

Hublot’s collaborators, unlike with a lot of brands, work with the watchmaker on an ongoing basis, thus becoming an integral part of the brand’s identity. For the Big Bang Sang Bleu II, which was released at the end of 2019, for example, Plescia-Büchi refined the original design to create a more three-dimensional case and inverted the facets to restore Hublot’s iconic porthole shape. “It’s about combining my DNA and Hublot’s DNA to create something new that is also true and faithful to both of the origins,” says Plescia-Büchi. “Something that I find extremely pleasant is that when you’re designing watches you work over many years on slow incremental changes, which is actually quite akin to designing tattoos. You get time to continue improving the design, which is different from designing fashion, for example, because you have a quicker turnover. You can come up with something crazy and the next season, people will have already forgotten.”

The Big Bang Sang Bleu II in gold

The designer was, in fact, approached by another watch brand before Hublot but declined the opportunity: “It wasn’t the level of prestige where I thought I could be”. Though fifteen years ago, Hublot might not have made the cut. Success truly came from the brand when they started “to connect tradition and innovation,” explains Guadalupe, a concept that is at the heart of Hublot’s universe and rooted in a deep understanding of their consumers’ expectations and lifestyles. “The young generation in particular are looking for something iconic with a strong personality and identity,” says Guadalupe. “For men, especially, a watch is the main way to really differentiate yourself, it expresses who you are.” Part of the appeal of buying a Hublot watch is gaining access to the ‘family’ and all the perks that come with it. Football-loving collectors, for example, are invited to all of the games at Chelsea FC with whom Hublot has an ongoing partnership. Indeed, Hublot was the first luxury watch brand to ever support football, again demonstrating a deep understanding of consumer culture as well as a highly innovative marketing strategy. Since 2008, the brand has been the official timekeeper of all of the UEFA men’s European Championships as well as the FIFA World Cup since 2010, and this year, marks the beginning of the brand’s relationship with UEFA’s women’s football.

When it comes to women’s watches, Hublot is still developing – the brand sells only 25 per cent to women – but their approach is unique in the sense that their designs differ very little for the female audience. With the Sang Bleu timepieces, for example, the ladies’ versions are embellished with diamonds, but otherwise remain the same. Look for a women’s collection on the Hublot website and you won’t find it; the watches are listed only by their collection. “It’s no longer men who buy watches for women as gifts. Women decide to buy whatever they want,” says Guadalupe.

Hublot x Women’s Football

Aleksander Ceferin, UEFA President & Ricardo Guadalupe, Hublot’s CEO

Over the past few years, women’s football has increased significantly in popularity with US-based data company Nielsen revealing that approximately 314 million people are now interested in the game. It is perhaps no surprise then, that Hublot recently announced its support, becoming the Official Partner of the Women’s EURO 2021. “In the end [football] talks to the consumer. It doesn’t matter that not everyone can afford to buy a luxury watch, if they know Hublot is a watch that’s positive,” says Ricardo Guadalupe. But the partnership works both ways. As Guy-Laurent Epstein, Marketing Director of UEFA Events SA, puts it, Hublot’s presence as a world-famous brand is “proof women’s football can be supported on its own merits”.

Find out more: hublot.com

This article was originally published in the Summer 2020 Issue.

Steam cooking can preserve the nutritional value and flavour of delicate vegetables such as mushrooms

The ancient art of steam cooking has gained new impetus with the revolution in healthy and mindful cuisine. Lisa Jayne Harris looks at the artful kitchen innovations from design-led German luxury appliance maker, and chefs’ favourite, Gaggenau

Alice B. Toklas, the celebrated 20th-century literary salon hostess, had one golden rule for cooking: “one must respect the quality and flavour of the ingredients”. Steaming is the most direct way to achieve her objective; it is an efficient way to cook that leaves the food tasting exclusively of itself. Just consider the simple excellence of steamed asparagus with French butter, one of Toklas’s stand-by dishes for entertaining.

Phil Fanning, the executive chef and owner of restaurant Paris House in Woburn and Gaggenau culinary partner, agrees: “You’ve got nowhere to hide with steam: It’s all about the quality of ingredients.” This is essential when you are working with delicate seasonal vegetables like asparagus, new potatoes or peas, but it is just as significant with good quality meat, baked goods or pastry.

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However, healthier eating is another powerful motivator behind the steamed food trend. Boiling vegetables reduces much of their nutritional qualities, such as vitamins C and B1, and other mineral salts readily dissolve in water. Lightly steaming does not disturb the food’s cellular structure or its aromatic compositions the way boiling does, so you preserve more vitamins as well as the colour and texture for a more health-conscious cuisine. “Gentle steam cooking can actually improve the nutrient status of food like asparagus, spinach and tomatoes,” advises registered nutritional therapist, Catherine Arnold, “It makes their nutrients more bio-available to the body.”

Gaggenau’s 400 and 200 series combi-steam ovens are ideal for the precise cooking of seafood

Gaggenau has pioneered steam cooking in the home for the past 20 years and continues to do so, including combination steam ovens: “Whether you’re cooking in pure steam, or in combination with traditional heat, you’re getting the health benefits of steam cooking, as it maintains food’s nutrients, colour and shape,” says Gaggenau’s category manager, Simon Plumbridge. Steam can improve other healthy eating habits such as juicing, too: “Our juice extraction setting gently steams hard-skinned citrus fruit such as oranges, so you get a much higher juice yield without impacting nutrients.”

Steam cooking is also gaining traction with chefs and home cooks because of the innovations in steam-cooking technology. For all its benefits – puffed soufflés, sumptuous bread, those crisp layers in a croissant – mastering the technique used to require an intimidating level of precision. Today, keen cooks are investing in internal temperature probes, gadgets and state-of-the-art appliances to emulate high-end restaurants at home. “The UK’s food scene has massively improved in the past 30 to 40 years, and this growth in skill and quality is reflected in passionate home chefs’ kitchens too,” Fanning reflects. Our private kitchens are becoming more technologically advanced, and ovens that enable amateurs to cook like professionals are both a luxury and an enabler of creativity.

Embracing both the old and the new makes us all better cooks. “Lots of traditional techniques benefit from having precise control over the humidity,” says Fanning. “Take bread for example. For the perfect crusty baguette, you need about 30 per cent humidity for the first five minutes and then very little for the remaining bake. In a traditional convection oven that requires guesswork, but it’s easily and consistently achieved in a combi-steam oven.” Brands like Gaggenau are making this trend for precision steam cooking more accessible. Their combi-steam ovens can be controlled to within one degree, which continually revises the estimated cooking time based on temperature-probe readings from three different sensors. There is no more guessing: “Steam in its basic principle is an ancient way of cooking,” says Plumbridge. “But controlling the level of steam in combination with a fan is only achieved by modern technology – and that’s what brings professional results into the domestic home.”

Read more: Fashion designer Erdem Moralıoğlu’s guide to east London

Steam is also about convenience; rather than waiting for an oven to preheat, a good steam oven heats to temperature immediately. When you combine that with smart, Wi-Fi-enabled technology that lets you control the oven remotely from your office, or even set the bread to prove whilst you’re watching TV, you have all the benefits of ancient cooking just a voice command away. “Connectivity in the home has a lot of momentum at the moment,” Plumbridge observes, “But we’re more interested in future-proofing, so our ovens have the capacity to integrate with apps on any system such as Alexa or Cornflake smart homes.”

As much as new food trends are about keeping pace with technology, steam cooking also allows you to take your time. Next generation combi-steam ovens can sous-vide for up to almost 24 hours on a mains-connected water system or 11 hours with a tank, and cooking meat low and slow with a good level of humidity means it won’t be subjected to heat expansion and contraction, allowing for a more tender and juicy dish. Chefs also use steam to impart more subtle flavours into a dish, laying herbs under a piece of salmon to infuse the fish or steaming couscous in a traditional couscoussier, in which spices, onions and meat cook in the lower compartment and impart their flavour to the grains above.

“Remember that with a combi oven, steam doesn’t have to be 100ºC,” Fanning advises. “You want to cook vegetables as quickly as possible at that temperature, but steaming a piece of turbot at 60ºC or even lower will give you a much more delicate result. Oxtail or lamb shanks can be very gently cooked sous-vide in a combi-steam oven for hours with virtually no chance of overcooking, and duck legs, pork belly, haricot beans or lentils – if vacuum packed with a fat or oil – can be very gently and accurately made as a confit.”

Icelanders have steamed their bread buried next to hot springs for generations and Chinese steaming baskets have been piled with fluffy rice buns and hot dumplings for thousands of years. Steam cooking might be an ancient art, but revolutionary technology, a modern regard for putting ingredients first and a drive to lighten up our diets means that the technique is equally relevant today. True innovation combines the heritage of centuries of steam cooking with precision and performance that inspires. “That’s why Gaggenau ovens are all hand finished,” Plumbridge says. “Only when you piece a product together by hand, the good old-fashioned way, are you actually putting soul into a product. And that’s what really means something to people.”

Gaggenau’s factory on the French-German border

Precision Engineering

Darius Sanai takes a rare tour of the Gaggenau factory, pictured above, on the French-German border, and is struck by the melding of industry and creativity

The huge sheet of matte-silver metal looks, somehow, tempting and edible as it sits on the machine bed, like a giant slice of space-age food about to be sliced and diced. Lasers home in on a pattern of points on the sheet, and an instant later, it has a precise latticework of holes and is being washed clean. A few metres away, an operator is in charge of a machine that bends metal. It bends it a tiny bit, almost invisibly, but the bend makes all the difference, our guide explains, as it allows the finished product a smooth, textured finish with no sharp edges.

There is a lot of this in the Gaggenau factory; a lot of working with metal, bending and shaping it, machining it, turning it from sheets, delivered through an entry doorway in one building, into the slick kitchen appliances so beloved by professional chefs.

Yet metalwork was not what I expected when walking into the factory of a manufacturer of the world’s leading kitchens. It’s hard to know exactly what to expect; my experience of factories is confined to manufacturers of cars and watches. Both of these are very obviously made of metal in a way high-end ovens, cloaked in a kitchen design and so proud of their electronics and technology, are not. Yet there is far more metalworking going on at Gaggenau than in, for example, the Mercedes-Benz factory at Sindelfingen an hour’s drive to the east, or the IWC watch manufacture at Schaffhausen an hour’s drive to the south.

Read more: Sassan Behnam-Bakhtiar & the artistic revival of Saint-Jean-Cap-Ferrat

Perhaps this ought not to be surprising. We are after all in a real factory, rather than a mere assembly plant where components made elsewhere are put together. Gaggenau may now be synonymous with expensive homes, but, as a timeline in the visitor experience centre where we had arrived earlier demonstrated, it has a history in metal. It was founded in 1683 as Eisenwerke Gaggenau, an ironworks which made everything from agricultural machinery to road signs, by Margrave Ludwig Wilhelm von Baden. Gaggenau itself is a town in the Black Forest of Germany, which, catalysed by von Baden, became a significant industrial centre and still houses one of the biggest Mercedes-Benz factories.

Gaggenau also made stoves, and eventually specialised in the high-end, highly designed, highly technical kitchen appliances it creates today, eventually moving to its current site from its original home. From the sloping road leading to the current factory in Lipsheim, you can see the curved outline of the Black Forest clearly. “I live there, it takes 30 minutes to cycle in every day,” one of our hosts tells me cheerily. The fact that he lives in Germany and we are just across the border in France’s Alsace is irrelevant: this is the new Europe, and there is, in effect, no border.

It’s a scenic setting for a factory, and also an interesting one: just down the road is Bugatti’s factory (really, a very chic assembly plant), so you could in theory pick up your Chiron and then watch your new steam oven being made. (Actually, the factory tours are not yet open to the public, which makes it even more special.)

The factory is a series of buildings each of which is filled with numerous sections and stations doing different creative activities. Gaggenau’s production process is still very manual; there are 350 workers, many of them trained in astonishingly particular skills pertaining to components or electronics of particular products. There is an air of extreme concentration among the small pods of workers, but unlike in watch manufactures, you don’t get the sense that you are the nth tour to visit that day. Workers are not slickly trained to respond to your questions; some of them are so lost in concentration in operating a particular piece of hot, huge or smelly machinery that they seem surprised to see you there.

What does remind me of a watch factory, or perhaps a pharmaceutical firm, is a ‘clean room’, which we observe from the outside. The room, which sits in a corner of the factory, and the people inside, assembling delicate electrical components of Gaggenau ovens, look like characters in a sci-fi movie of their own.

There is, in another section of the factory, a testing station, where every creation is subject to testing on its accuracy, function, and so on. I lingered a minute or two here, eager to see a malfunctioning multi-thousand-euro oven chucked on a scrapheap (or actually, returned to production to be corrected), but it didn’t happen.

The tour ended and we walked back to the Experience Centre, with its view of the Vosges and walls of the latest steam ovens, slick and architectural, beauty made out of, if not exactly chaos in the factory but certainly industrial creativity. More interesting than any watch manufacture I have been to.

Find out more: gaggenau.com/gb

This article was originally published in the Summer 2020 Issue, out now.

French designer Philippe Starck. Image by JB Mondino.

Legendary French designer Philippe Starck gives Mark C. O’Flaherty his radical vision of the future: a time when designers won’t be needed – and maybe even chairs

“I’m not interested in aesthetics anymore,” says Philippe Starck, sipping on a glass of mineral water in the Royal Academy in London. “I am interested only in our evolution, and how the intelligent craft of human production is going to be rerun by dematerialisation. We are working on making things disappear.” As Starck speaks, I notice the periodic flashing of a red LED from beneath the skin on a fingertip of his left hand. It’s extraordinary. I ask him what it does – is it connected somehow to his laptop, perhaps? “Ah, it’s magic!” he says, cryptically, before steering the conversation to his ongoing project with the Roederer champagne house: “I never wanted to just design a bottle, I wanted to share in the making of what was inside. And it was about creating something that had less in it, nothing added, no sugar.”

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We are at the Royal Academy for the launch of the new Roederer-Starck 2012 rosé champagne, where he is judging a competition between 13 artists at the Academy’s Schools to interpret the taste of the champagne through their art. His choice of winner – a white-on-white embossed spiral on paper called Cycles, by Sofía Clausse – is apposite for his ongoing philosophy of design: “It was the most accessible piece,” he says, “It was simple. It captured the spirit of champagne, which to me isn’t a wine, or a reality, but an idea.”

Starck’s AI Chair for Kartell

When the world first caught sight of Philippe Starck’s work in the 1980s, the Parisian-born designer had been creating products for a new way of living. He was changing the vocabulary of interiors, rephrasing the language with futuristic accents on everyday items. His choice of materials was aggressively different from the tradition of French design – he selected transparent plastics, metallics and pop colours. He was as New Wave as the cinema of Luc Besson and Jean-Jacques Beineix and of the architecture of Jean Nouvel. Today, at 70, he is one of the most prolific designers who has ever lived, having created literally (his studio can offer no official number) countless products from clocks to yachts. Today, he still works on an average of 200 projects a year. And yet, as he tells me, he believes that “fifteen years from now, thanks to technology, every material obligation will have disappeared.”

Read more: Chaumet’s CEO Jean-Marc Mansvelt on historic innovations

How does a designer who has been apocryphally credited with 10,000 products balance his current view of a future with nothing in it, with his business model? “The business element will shift,” he says. “We debuted the AI chair with Kartell at Salone del Mobile in Milan this year, and it was the first of its kind ever to be created with artificial intelligence. AI is going to create a new freedom in design. With AI, we can now ask any question, but it’s all about knowing the right question.” He also sees a time beyond furniture. “Design as we know it will be dead,” he says. “There will be better solutions to sitting down than a chair. I think a chair has always put you physically in a bad position. We can do better than a chair.”

The entrance to the Starck-designed L’Avenue restaurant at Saks Fifth Avenue, New York, with stained glass by his daughter Ara

Starck has always been radical. In 1984 he created the interior for Café Costes in Les Halles. With its theatrical blue staircase and oversized minimal clock, it was as much a postmodern landmark leisure-time interior as Ben Kelly’s Haçienda in Manchester, and Arata Isozaki’s Palladium in New York City. All were created in the same decade, but Starck’s project was notably more dramatic because of its location. This was Paris, a city still stuck in Belle Époque aspic. French design was frozen in curlicues and froth. Starck was an iconoclast.

Entries to the Brut Nature competition from Royal Academy students, with (top) The Philosophers’ Reserve by Max Prus, and (here) Tidally locked by Olu Ogunnaike

After a series of successful Paris interiors, he was aligned for a long period with Ian Schrager’s fantastical hotel projects, bringing some of the eccentric visual flair that Schrager and his late business partner Steve Rubell brought to Manhattan nightlife with Studio 54. There was a fairytale, supersized element to much of what he did, from elevated swimming pools to triple-height billowing curtains. From the Royalton in Times Square in 1988 onwards, their partnership helped take Starck’s name and distinctive, witty style to the world.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

While his peers, including Marc Newson – who currently holds the record for a design object at auction after one of his Lockheed Lounge chairs sold for over £2 million in 2015 – focused on rarefied edition pieces, Starck focused on mass production. A rare blue glass Illusion Table sold for $50,000 a decade ago, but Starck is known more for his alien-looking Juicy Salif lemon squeezer – which first appeared in 1990 – and continues to be one of Alessi’s best-selling products of all time. At one point, the company produced 10,000 gold-plated versions, purely for display in the home (lemon juice discolours the surface). His transparent plastic chairs for Kartell – the La Marie, which launched in 1999, and the Louis Ghost armchair, which debuted three years later – are as instantly recognisable as any piece of furniture ever made. They brought avant-garde design to the mass market. But when plastics are being demonised, do his polycarbonate objects belong to the past? Starck remains a passionate cheerleader for the material. “For me, it’s the only way to achieve the quality product I want,” he says. “There is a great difference between single-use plastic and a chair that you can keep for a century or more. The media has created great confusion. I prefer to work with fossil energy than to cut down trees and I would rather use vinyl for upholstery than kill cows.”

Two further entries from Royal Academy of Arts students to the inaugural Brut Nature competition judged by Philippe Starck, with (top) Self-portrait as a Champagne Fountain (2019) by Clara Halstrup and (here) Sun on the coast of the moon by Richie Moment

One area in which he, and indeed most of us, remain guilty in terms of the unfolding climate crisis is in carbon emissions from flying. But Starck is one of the busiest designers on the planet, and for someone who still uses pen and paper and tactile models to create (“If you create using a computer, you are just creating within the frame of the guy who created the software!”), he needs to appear in person for projects. The day after we meet, he has to get up at 4am to catch a plane to Milan where he’ll be for a few hours before flying off again, heading further south. “It’s fine – I am so used to it,” he shrugs. “I once went to Seoul from Paris for three hours.” At 70, he shows no signs of slowing down, but when he takes time out, it’s the most understated resort he has ever designed that he likes to head to. “I like lots of places I have been involved with,” he says, “but the one I really love is La Co(o)rniche in the Bay of Arcachon near Bordeaux. It’s really just a few cabanas on top of the Dune de Pilat, the highest sand dune in Europe. You are there looking at the waves and the sunset and it feels like the best place in the world.”

The choice of a fairly rustic, nay, Zen destination ties in with his world view right now, and his intention to both continue democratising design and make it vanish. Just as he believes the future is chair-free, so he believes our everyday tools and indeed all of our furniture will go. “Designers won’t dictate the aesthetic in the future,” he says, “it will be down to your coach and dietician, because telephones and computers will disappear and everything we use will be incorporated within the body. We will be naked in an empty room, and we will be able to conjure flowers or whatever we want from nothing.” As Starck gesticulates, the red LED flashes on his finger tip again. “So, come on, tell me…,” I ask, “is that part of the new cyborg tech you are talking about?” He smiles. “Oh, this? I got it from the Harrods toy department. Fun isn’t it!?”

Louis Roederer and Philippe Starck

The recent launch of the 2012 Roederer and Starck rosé champagne marks 13 years of the designer’s collaboration with the French family-owned champagne house and maker of Cristal. Starck has been involved in each step of the production, including, of course, the champagne’s packaging. From the first brut-nature product in 2006, the champagne has been created sugar-free, with zero dosage. As Jean-Baptiste Lécaillon, Roederer’s chef de cave  says: “We have used nature as our collaborator as much as anything with our work with Philippe – it is organic, with minimal intervention and a focus on the real taste of champagne. This came from our discussions with him.” The presentation attempts to democratise the luxury product – it looks more like a chic bottle of olive oil than a grand cru. The hand-lettering on the label and box and the rough line of fluorescent pen creating the edging makes it look effortless. As Frédéric Rouzaud, president and family scion of Louis Roederer says: “It represents spontaneity. He wanted a simple paper for the label, and just wrote by hand what the product is. He wanted it to be approachable, to speak to everyone.”

Find out more: louis-roederer.com & starck.com

This article was originally published in the Spring 2020 Issue.

Atelier Zuhra’s latest collection “The Immaculate Flight of the Phoenix” showcased at London Fashion Week over the weekend. Image by Daniel John Cotton @cottonphotographer

Rayan Al Sulaimani is the female entrepreneur behind the growing couture fashion house Atelier Zuhra. Since its launch in 2015, Atelier Zuhra has had a growing presence on Hollywood’s red carpet. Following the launch of her latest collection at London Fashion Week, Emma Marnell speaks to the designer about fairytale dresses, timeless couture and her cultural heritage

Rayan Al Sulaimani

1. The brand is named after your grandmother – has she always been a style inspiration for you?

My grandmother Zuhra is a strong Omani woman with a great passion for living life to the fullest. Yes indeed, she has always been a style inspiration, but eventually through the years I have also developed my own unique sense of style.

Follow LUX on Instagram: luxthemagazine

2. What led you to focus on evening wear and specifically, show-stopping dresses?

From a young age, it has always been my dream to dress celebrities for big red-carpet events in a fairytale like Cinderella gown or to dress a bride at her wedding and help her dreams come true. Hence, from the very beginning we have always focused on creating show-stopping dresses.

Atelier Zuhra’s LFW 2020 collection. Image by Garry Carbon @becauseimgarry

3. Can you talk us through the inspiration behind your LFW collection?

The collection is called “The Immaculate Flight of the Phoenix”.

In mythology the phoenix is a powerful bird which cyclically regenerates and is continually reborn over and over again in human legend and imagination. In the same way, this symbolises the beauty of ethereal everlasting couture as this immaculate bird represents the idea that the end is only ever the beginning.

Read more: Vik Muniz’s photography series for Ruinart

The LFW collection entwines beautiful tailoring with modern innovation and couture. The collection is brilliantly coloured in black and grey to represent the ashes of the phoenix. Contrastingly, its eyes are blue and shine like sapphires. Whereas the lilac and other ethereal playful colours are associated with the rising sun and fire, illuminating in the sky. Everything we have created in this collection is emphatically elegant and impeccably designed so that it looks like it would feel delightful to wear and to walk in.

Backstage at Atelier Zuhra’s LFW 2020 show. Image by Daniel John Cotton @cottonphotographer

4. How are your designs influenced by your cultural heritage?

Middle Eastern culture has definitely been a source of inspiration for all of our creations. Being born and brought up here [in Oman], I have grown up as a part of this beautiful culture, and knowingly or unknowingly it is somehow reflected in my designs. I would say the Middle Eastern influences are most recognisable in the silhouettes that we work with.

Atelier Zuhra LFW 2020. Image by Image by Daniel John Cotton @cottonphotographer

5. When you’re dressing down, what’s your go to outfit?

My personal style is very classic and chic.

6. Who would be your dream to dress for the red carpet?

Angelina Jolie, Blake Lively, the Kardashians and Scarlett Johansson.

Discover the collections: atelier-zuhra.com

Jordan Alexander’s signature marquis chain necklace with 18K gold and pave diamond earrings and a cushion cut morganite ring. All pieces designed by Theresa Bruno

Theresa Bruno established her jewellery brand Jordan Alexander in 2013 and since then, her designs have been worn by the likes of Michelle Obama and Julia Roberts. Here, the designer tells us about her commitment to sustainability, creating bespoke pieces and channelling her grandmother’s elegance

Theresa Bruno

1. How was Jordan Alexander born?

I was originally a musician and studied music at The Juilliard School where I learned an appreciation for the essential balance between free form and disciplined art. I suppose it’s true to say that craftsmanship was essential and noticeably present in my everyday life.

I was inspired to be a jewellery designer from an early age by heritage pieces, most notably, my grandmother’s pearls. When I had to stop piano because of an injury to my hand, I needed to find a new creative focus, and this seemed a natural progression given my long running interest in the beauty and craft of fine jewellery pieces.

My official breakthrough came when I was approached about First Lady Michelle Obama wearing some of my pieces, and everything flowed from that extraordinary honour. The company was formed, and the name Jordan Alexander is for my two gorgeous sons.

Follow LUX on Instagram: luxthemagazine

2. Do you design with a particular woman in mind?

I have always been inspired by my grandmother, her Southern elegance and the ease with which she moved through the world. I channel her often when I’m designing.

18K gold and diamond signature star cradle earrings with cushion cut rhodolite garnet and pear shaped morganite drops 

3. What inspires you to start a new collection?

I am often sparked by my travels; particular colours, and the different ways women adorn themselves. I love photography and visual art and it is all a constant source of inspiration. I was recently in New Orleans and wandered into this tiny little photography gallery. There was a stunning collection of photography by an Italian photographer that had so much movement and soul in the way he photographed. Those experiences are so motivational.

18k gold and diamond signature peace chain lariat with leaf wrapped tanzanite accents and Jordan Alexander logo clasp

4. As a relatively young company, how do you compete with heritage brands?

My jewellery represents my own elegant but free-spirited style. I am an independent designer who carefully hand-crafts each piece, using 18K gold, diamonds and precious hand-selected stones from trusted suppliers who can prove their credentials when it comes to sustainable sourcing. My style is a balance between everyday pieces and ceremonial rings and heirloom, bespoke collectibles. There are many other brands whom I admire enormously, but the truth is that I walk my own road and we are in no rush as a company to expand fast. My bespoke work is my passion and, in my opinion, Jordan Alexander’s point of difference.

Read more: Betye Saar’s ‘Call and Response’ exhibition at LACMA

The first step is starting the dialogue, asking the right questions to better understand the context of each piece and the personal style of the wearer, including sometimes the specific wardrobe with which the pieces will need to coordinate. Once the concept is determined, the client will work with me through every phase of the creative process: concept to sketch, design detail, stone sourcing and finally, production. I have created many bespoke pieces for ball gowns and special events.

18k gold chain wrapped champagne moonstone ring and bangle

5. Can you tell us about the brand’s sustainability efforts?

Social responsibility is a vital thread that runs through the Jordan Alexander business, which is why I have aligned the brand with A21, a global anti-human trafficking organisation. After travelling with the group to work personally alongside victims in rescue and rehabilitation efforts, I have collaborated to launch a line of jewellery with 100% of proceeds going directly to A21. In general, we re-use gold, repurpose stones and ensure that waste is built out of the creative process.

6. Have you made any new year resolutions?

I don’t really make resolutions, but my thoughts about how I want to live this year are about balance: the balance between being brave and being vulnerable. About being strong, but living with a soft heart. It is a political year in the US with lots of energy about the Presidential election. Everywhere you go people are really heated about it. My hope is to be open enough to accept, and even listen to those who sit on a different side than me, while being true to my beliefs and values.

View the collections: jordanalexanderjewelry.com

The Cleopatra alexandrite and diamond set by Hirsh

Founded in 1980 by Anthony and Diane Hirsh, luxury jewellery brand Hirsh is now under the creative direction of Jason Hirsh with his wife Sophia as Managing Director. Here, Chloe Frost-Smith speaks to the second generation Creative Director about designing, selecting gemstones, and the relationship between art and jewellery

Jason Hirsh

1. Is it true that you designed your first piece of jewellery when you were 10, and if so, what was it?

Yes it is, I used to sit in my father’s office, looking for things to do. My father used to have me draw the jewellery on stock cards (before digital cameras and film was too expensive). I loved the colour gems more than diamonds and drew out a suite of jewellery (necklace, earrings, bracelet and ring) using a pattern of emerald, ruby, sapphire, diamond set in 18k gold, very 80s! My father humoured me and made it. In those days Hirsh, used to manufacture jewellery for other retailers, our first store was still 2 years away, so he took the suite to the Dallas Jewellery show. I went with him and my mother and the suite sold on the first day. It was purchased by a prominent jewellery chain in the U.S. that had 16 stores at the time, so my father needed to make a few more! My father paid me $1 commission which I spent on a coca cola and cracker jacks (American popcorn), let’s just say my taste and remuneration has changed somewhat.

Inside the Hirsh London atelier

2. What is the inspiration behind your new Autumn/Winter collection?

I’ve always been inspired by nature and the beauty of the different colours found in nature – be it in gemstones or in the changing of the seasons. My father also shared this love of nature and began a tradition of designing a unique snowflake pendant every winter. This is a tradition that Sophia and I have continued and really look forward to every year. As the Hirsh 40th anniversary is soon approaching, we decided to create three beautiful snowflake pendants this year; an emerald, sapphire and a ruby piece. Just like snowflakes found in nature, each snowflake we design is completely one-of-a-kind and very special. Our new spring 2020 collection also takes inspiration in nature and features natural colour diamonds – definitely one to look out for.

Follow LUX on Instagram: luxthemagazine

3. Which gemstones are you drawn to work with in particular and why?

I am drawn to work with anything unusual, I try and seek out gems that are hard to find other examples of, be it the rarity of colour or the combination of shape and colour. It is especially why I like round natural colour diamonds such as the 7-carat round, colour changing chameleon diamond I parted with last year. With the amount of rough you lose, natural colour diamonds are rarely cut in round which is what makes them all the more special when they are. In colour gemstones, my favourites are those with an emerald cut. The reason for this is that, emerald cut gemstones leave no place to hide inclusions in the gemstone. However, my personal favourite gemstones of all are Alexandrites and sapphires, mainly for the colour change in the Alexandrite and the range of colours found in sapphires. My wife Sophia has an amazing bi-colour sapphire (half yellow, half blue) that I thankfully get to see on her every day. We also have an amazing selection of Alexandrite jewellery at Hirsh that I’m very proud of.

The snowflake pendant set with pink and blue diamonds

4. How would you describe the relationship between jewellery and art?

Well, art is subjective and whilst in the past artists like Seurat would spend four years on a painting, some artists today create art in a day, in some cases multiple pieces in factories. You can find the same thing in the world of jewellery. There are many jewellers who mass produce their craft either to satisfy their clientele who want the same pieces, or to fill their many stores. At Hirsh, we individually produce each piece by hand so we consider everything we create to be a piece of wearable art. In addition, the vast majority of our pieces are the result of a collaboration with several artists, from my creative direction  through to the design team who draw and refine each piece and then on to the mounters who turn our dreams into reality, and finally, the setters, who refine the claws on each stone.

Read more: Why we love TAG Heuer’s Monaco anniversary collection

5. Do you ever consider trends when designing your pieces?

Whilst remaining quite timeless in style (the majority of our jewellery is made to be worn season after season), I always feel like we are right on the pulse. When we were creating our “Cloud” collection, 9 months after the initial design, I was walking down Bond Street and saw Anya Hindmarch’s window displaying her latest bag collection featuring clouds which made me smile. Three or four months later, Hermès launched new windows with cloud bags and a cloud theme. The difference is that, unlike high fashion and just like London’s ubiquitous rain clouds, our collection is set to stay.

Ruby and diamond trio, ice and duet ring

6. Which piece of iconic jewellery from past or present do you wish you had designed?

I have a lot of respect and admiration for Andrew Grima– a British jewellery designer based in Mayfair during the 1960’s and 1970’s. I feel he truly transformed the world of jewellery at that time, by creating intricately designed pieces of jewellery using textured gold and unique stones. My wife and I love watermelon tourmalines so I specifically love and would have loved to design his ‘gift’ ring featuring a beautiful watermelon tourmaline and a gold bow. I really enjoy his use of colour and texture in his creations and find is work highly skilled yet playful which is something we always aspire to in the creation of our jewellery at Hirsh.

To view the brand’s collections visit: hirshlondon.com

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

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

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

Follow LUX on Instagram: luxthemagazine

A model in Philipp Plein AW19

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

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

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

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

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

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

The Philipp Plein AW19 catwalk show in Milan

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

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

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

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

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

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

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

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

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

The Billionaire AW19 catwalk show in Milan

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

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

World champion boxer Vasyl Lomachenko is the face of Billionaire

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

Read more: At home with minimalist architect John Pawson

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

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

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

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

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

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

View the designer’s collections: plein.com

This article was originally published in the Autumn 19 Issue.

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

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

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

Follow LUX on Instagram: luxthemagazine

Kyle Holford and Lauren Smith

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

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

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

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

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

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

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

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

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

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

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

Fattorie dei Dolfi’s owner, Giovanni Dolfi

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

Read more:  In conversation with renowned Belgian painter Luc Tuymans

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

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

Respected by Gaggenau

Gaggenau’s head of design, Sven Baacke

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

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

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

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

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

Find out more: gaggenau.com/gb

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

This article was originally published in the Autumn 19 Issue.

The Hublot Classic Fusion Ferrari GT 3D

No detail is small enough to escape Ferrari designer Flavio Manzoni’s razor-sharp focus. Rachael Taylor discovers how his expertise in supercar design lends itself masterfully to the Hublot and Ferrari watch collaboration

In the Ferrari Maranello plant in northern Italy, you will often find Flavio Manzoni and his team convening at a ten-metre-tall LED wall display. The images they’re looking at are often enormously scaled-up photographs of the miniscule parts of a Ferrari engine or exterior. The extreme magnification is used to perfect infinitesimal details you might never notice should you take the car for a spin. And this, says Manzoni, is the essence of luxury design.

“The luxury of a Ferrari is more a consequence than an objective,” says Manzoni, the car manufacturer’s senior vice president of design, who this year accepted the Red Dot Design Team of the Year award. “There are two perspectives [of design]. One is from the distance, where you see the whole harmony of the object. The other is with the lens, when you magnify every element and put a lot of art into every single detail.”

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Focusing on each and every element – no matter how small – and making sure that it not only performs brilliantly, but is also aesthetically exciting, is what makes Ferrari cars among the most sought-after, and expensive, in the world. It is also this zoomed-in approach to design that has made the switch to designing watches a seamless transition for Manzoni.

Manzoni joined Ferrari in 2010. The following year, he was working on a top-secret project for the company’s first hybrid sportscar, LaFerrari, when he was also brought in to oversee the development of a watch in collaboration with Swiss atelier Hublot. He kicked off their first meeting with a rejection.

Award-winning designer Flavio Manzoni has been with Ferrari since 2010

“At the beginning, their idea was to propose some concepts to us,” says Manzoni. “They wanted to draw inspiration from the central shape of a Ferrari, the dynamic shape, but my idea was to avoid that because it makes no sense to give an aerodynamic shape to a watch.”

Instead, he wanted the Hublot team to look beyond the obvious and dive deep with him into the romance of the details. “I tried to guide the research towards the technical beauty of certain mechanical components of a Ferrari, like the engine for example.”

Hublot Classic Fusion Ferrari GT King Gold

Hublot Techframe Ferrari Tourbillon Chronograph

The result – the Hublot MP-05 LaFerrari watch – was spectacular. A tapered, angular case covered entirely with sapphire crystal, showed off the inner workings of an unusual movement, with the time displayed on off-centre cylinders rather than hands. In place of the traditional flat cogs and springs, an industrial-looking central column of gleaming aluminium barrels gave the impression of a watch that revs rather than ticks. Being Ferrari, performance excellence was important too, and a super- charged power reserve function was created that allowed the mechanical tourbillon watch to carry on ticking off the wrist for what was, at the time, a record 50 days. “I think they attract customers because of their uniqueness,” says Manzoni of the Hublot Ferrari watches, which he believes appeal to a much wider audience than the Ferrari fan base. “They speak out from the mass in the field of watchmaking because they are different. We try to use an out-of-the box approach, which comes from the attitude that we have towards our cars.”

Read more: Rockstar turned designer Lenny Kravtiz on champagne and creativity

It has been eight years since Hublot and Ferrari first joined forces, and Manzoni and his team have very much taken control of the design process. They select which movements to build around, and work up 3D models of prospective timepieces before presenting the concepts to Hublot. Each watch produced (using that same digital ‘wall’ for extreme close ups) continues to focus on the details of Ferraris – the ceramic carbon brake discs, the peccary leather seats – and often uses the same materials that are lavished on the supercars. No flourish is too small to champion, and it gives the team a platform to celebrate much-considered elements of the cars that might otherwise be overlooked simply as pleasant minutiae.

The limited edition Scuderia Ferrari 90th Anniversary Platinum and 3D Carbon watch

This year, Scuderia Ferrari is celebrating 90 years of making supercars, and to celebrate, three Hublot Ferrari watches have been released to mark its past, present and future. Each a twist on Hublot’s popular Big Bang model, the trio of timepieces are all powered by a UNICO movement with a flyback chronograph that offers a 72-hour power reserve and are anchored with bezels cut from the same ceramic carbon that helps Ferrari’s cars to screech to a halt.

The first watch in the series recalls long- past glory days with a brushed platinum case to echo the dashboards of classic Scuderia Ferrari models, as well as a leather strap and bright-yellow markers and hands to bring to mind old-fashioned speedometers. The model celebrating the here and now does so with a 3D carbon case and a strap made from Nomex, the fire-resistant material Ferrari drivers rely on to keep their suits from going up in flames.

The third watch, the one that nods towards what Ferraris might look like in the future, uses sapphire crystal to create a see-through case that exposes its inner workings. The futurist aesthetic is continued with a strap made from Kevlar, a composite material that Ferrari uses to protect its carbon-fibre chassis from stones spraying up from the road.

The latest automotive launch from Ferrari is the SF90 Stradale hybrid, an evolution of the LaFerrari that inspired that first Hublot Ferrari watch. So are we likely to see this latest model transformed into a wrist-ready format? “I don’t think that there will be a literal translation, but for sure there will be some inspiration,” muses Manzoni, who never feels bound to tie the latest watches into the latest cars. “It’s always nice to create cultural bridges between different disciplines.”

Discover Hublot’s collections: hublot.com

This article was originally published in the Autumn 19 Issue.

The ‘Black Hawk’ high jewellery collection by Messika

Valérie Messika grew up playing with precious stones. Her father, Andre, was renowned in the diamond industry for decades, but at the age of 25, Valérie discovered a niche in the market: everyday, wearable diamonds. She founded her eponymous brand around this ethos and Messika has since become a favourite amongst celebrities with stores across the globe. Here, we speak to the designer about fashion, Parisian style and designing for men

Valérie Messika by David Ferrura

1. What’s your most cherish piece of jewellery?

When I was young, my grandmother, who is one of the most amazing women I have ever met, gave me one of her rings. It is a pear shaped 9.30 carat diamond, it is my favourite piece of jewellery.

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2. How much attention do you pay to trends?

I am a real fashion lover! I get my inspiration from a lot of things, at all times– but fashion and haute couture are one of my biggest sources of inspiration. I find inspiration by walking the streets in Paris and looking at people’s attitude and style. I admire the Parisiennes; they look so chic but always in a very minimal and trendy way.

Pieces from the ‘Desert Bloom’ high jewellery collection by Messika

3. What makes a piece of jewellery timeless?

To be timeless, a piece of jewellery must be a mix between classic and contemporary, but always with a twist of modernity.

4. Do you approach designing for men and women differently?

I get my inspiration from people that surround me such as my two daughters, my husband and my father. I also take into consideration feedback from my clients, this is important to me.

Creating for men was about how I see men. Forging a bond between men and women’s jewellery was a real challenge. I have created a masculine interpretation of my iconic collection Move, that combines both power and lightness. The motif of the three moving diamonds is deeply imprinted in me and lies very close to my heart, it stands for the ‘love of yesterday, today and tomorrow’.

Read more: 6 mountain restaurants to stir your soul this summer

5. When you get dressed in the morning, which do you choose first: clothes or jewellery?

I am very lucky as I can change my jewellery every day. I always associate my jewels with my clothes. What I like is stacking bangles by mixing my signature collections, Move and Skinny. I adore wearing jewellery as fashion accessories.

Messika pieces are created to be worn on an everyday basis. Diamonds can be worn every day with a pair of jeans, your favourite sneakers or your favourite jumper!

‘Wild Moon’ earrings by Messika

6. What’s your favourite jewel other than a diamond?

This is a tricky question as diamonds are in my DNA. This passion is my heritage. But I always have my Audemars Piguet watch that I consider to be like a piece of jewellery.

Discover Messika’s collections: messika.com

Studio Piet Boon are the lead designers on Half Moon Bay Antigua, the new and exclusive Caribbean resort

Dutch designer Piet Boon’s eponymous studio envision every detail of a design from the exteriors to the interiors, lighting and upholstery. They’ve worked on major projects all over the world, most recently as the lead design team behind the major new Caribbean resort Half Moon Bay Antigua. Here we put Piet Boon in the 6 Questions hot seat.

Piet Boon

1. What’s your ideal working atmosphere to channel creativity?

The ideal working atmosphere for me? A balanced environment free from dissonance. I believe that creativity is a state of mind, so I like to get rid of distractions when I need to think. At our studio we need to be creative every day because our clients rely on us to deliver the best. It is therefore crucial that our workspace facilitates creativity. The interior is timeless and calm, but is also filled with art and beautiful objects to inspire and provoke creative thinking. The best ideas arise when our designers come together and think out loud. You get positive vibes, good discussions and a lot of energy. We then bounce off each other’s ideas and create the most amazing design solutions.

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2. Can you tell us about your vision for Half Moon Bay Antigua?

Our vision for Rosewood Half Moon Bay Antigua is to, together with landscaper VITA and architects OBMI, create an ultra-luxurious hospitality destination that blends in with its natural surroundings as if it came up from the ground and has always been there. This vision will also apply to the Rosewood branded residences surrounding the hotel: design imbued with a strong sense of place. At the same time, guests will experience comfort and understated luxury at every turn. At Half Moon Bay nature reads as a prominent feature. Just like the typical typology of the island, the rooftops at Rosewood Half Moon Bay are kept below the treetops, allowing the units to blend in from all angles. An inside/outside connection was also the key point for the design. Bespoke contrasts weave the natural surroundings throughout the interior and exterior of every room. We envision Half Moon Bay to be an unparalleled Caribbean retreat where both hotel guests and those who own a branded residence or one of the bay’s ten estate residences can relish in luxury, comfort and time.

Rendering of a residence at Rosewood Half Moon Bay Antigua

3. What’s been your most challenging project to date and why?

Every project has its own challenges and in different ways. That can vary from time constraints to building regulations, and from weather conditions to challenges specific to the location. Our first project in New York was a very large apartment on Fifth Avenue that we were commissioned to renovate completely…within a time-frame of three months. That was a bit of a challenge. We managed to deliver, and the result was great. That client has been with us ever since.

Read more: Rosewood’s flagship hotel opens in Hong Kong

4. Is it important to develop a signature style as a designer?

I would think so, definitely. How would you be able to differentiate otherwise? What would be the added value for clients to come to you? Even more important is being consistent when it comes to your signature. Staying true to your values and identity. We have been designing for over 35 years now, and although our designs have evolved, we still maintain the same signature. I think that that is also the reason why we are still able to do what we do; balance functionality, aesthetics and individuality. Clean lines, strong axis, subdued colors and rich natural materials have informed our work from the very beginning.

Bedroom interiors with a outdoor bathtub, designed by Studio Piet Boon

5. Do you have a favourite material to work with?

At Studio Piet Boon we like to work with rich natural materials. Not only because of the quality, look and feel, but also because they become even more beautiful over time. When we design something, we want it to last. Or at least last very long. Another material I like working with is concrete. Firstly, it is a strong and durable material, secondly, it’s honest and beautiful; sober and at times even breathtaking.

6. Are trends valuable in design or a hindrance?

That depends on how you go about them. You should use them in a way that you benefit from. It becomes a hindrance if you have to unnaturally adapt yourself for the sake of following a trend. I must say that we’ve never been trend followers. We observe the world around us and find inspiration in many things, and use this in our designs and creations.

View Studio Piet Boon’s full portfolio: pietboon.com

For more information on Half Moon Bay Antigua visit: halfmoonbayantigua.com

Kitty Harris

Alessandra Rich ready-to-wear SS18 collection

Alessandra Rich

Alessandra Rich is the quintessential contemporary designer. Born in Italy, based in London and Milan, and showing in Paris, her designs bring joy and flair to womenswear. She is also noted for the meticulousness of her sourcing and her construction quality. LUX Editor-at-Large Gauhar Kapparova speaks to the designer.

1. Describe us the woman you design for. Who is the Alessandra Rich woman?

She is an independent woman, self-confident, clever and ironic. She loves to have fun with fashion and to be the woman that everyone looks at.

2. What are the challenges of a small independent fashion designer today?

My challenge is to be contemporary, I avoid being nostalgic or too “classic”, I want my brand to be unexpected. It’s difficult to compete against what everybody thinks fashion is, the size of the brand doesn’t matter.

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3. Has the increased desire for ready-to-wear collections changed your designs?

All my collections are ready-to-wear, I want women to have fun wearing my pieces, during the day and at night.

Alessandra Rich ready-to-wear SS18 collection

4. Your designs are chic, clever and quirky. How do you give it that timeless elegance?

My design comes from a personal research and from my interest in the contemporary. I consider fashion a language, so I just put together the right words.

Read more like this: 6 questions with LA’s hottest accessory designer Tyler Ellis

5. Do you design through your emotions or follow a formula?

It’s a mixture of emotions and rules, because every idea has to fit into a shape. It’s why in my last collection you can find formal jackets worn with hot pants or floral pleated dresses and sheer laces. It’s always a matter of balance.

6. What’s ahead for your brand? Do you have plans or are you living in the moment?

I have a vision that my business will grow, with a larger team and a larger view. I’m interested in creating a kind of factory, a place to be.

alessandrarich.com

Tom Davies is a British eyewear designer offering a truly bespoke service. Kitty Harris sits opposite the designer in his Royal Exchange shop to learn more about designing for the individual and the evolution of the luxury eyewear industry.

Tom Davies

Kitty Harris: You have had many design roles during your career. Why did you choose eyewear?
Tom Davies: When I was originally setting up my company, I set up in London to design frames for Tom Davies. But I was just starting out and I was doing contract design for other eyewear brands. For example, one of my big clients was Puma and I was designing their sports eyewear line under contract and also project managing the delivery. That was quite lucrative for me. But at the same time, I would take anything. I actually designed a popcorn maker, an MP3 player, a food mixer and so on. I set up companies just to qualify me for being able to take that particular job. For Aquascutum, I was designing websites and brochures. For Puma, I managed to weasel my way into their websites and brochures and before I knew it, I had twelve designers and a design company.

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But I wanted to pursue Tom Davies glasses, so I threw all of that away for what I truly wanted. All my other ventures were great but they were merely vehicles to make money; whereas eyewear defines the wearer. Human communication is through the face, so in terms of design, there is nothing more important. I think it is the number one design challenge and the most exciting. What really excited me was that nobody else knew that. It has been ignored by the world.

‘Specky four-eyes’ has haunted eyewear for thirty to forty years. It has been something that people haven’t wanted to wear, because it is seen as a medical device and a necessity. But the truth is, if you get to forty years old, 95% of people need some kind of correction for their vision. It is everywhere and everybody needs it. The challenge is to make something that somebody enjoys wearing – that makes them look good, that they are comfortable in and helps them. I get such satisfaction by making someone a really comfortable frame that will really suit them.

KH: How would you describe your design aesthetic?
TD: I am always looking at the person. It is the physical things. I have signatures in my frames – little touches that I like to put in there. Whilst a lot of eyewear brands have a certain hinge or style, which is how they define themselves; I am a bespoke brand, so I’m all about the person. If I was to make you a pair of glasses, I am looking at the shape of your eyebrows, your long eyelashes and your small nose and I think of how it will fit. I look at the shape of your hairline that frames your face, the earrings – how you accessorise yourself. I must design something that will bring all of that together and then match it. That is not easy, which is why people hate glasses. There is so much going on in your personality that you’re already outwardly projecting.

Read next: Visionary designer Bill Bensley on creating luxury dream worlds

The idea that you simply wear what I say and have to deal with it doesn’t really work. That is effectively what happens when you go to an optician. I take several aspects into account: your personal style and features, then we look at the delicacy and thickness of the rim, the tone of the colour, the finishing material (polished, matt or satin), how the frames are fitting. We must take all that into account and then have to consider the prescription requirements and what lens design will give you the optimum vision. You can squeeze any lens into a frame, but people can develop headaches and dizziness. It’s all about you – that is my design style. My products aren’t signature to a hinge, they are signature to the person, so you shouldn’t really be able to spot my frames.

KH: What’s wrong with a ‘one size fits all’ model?
TD: First of all, you must remember those funny caricatures that used to appear in newspapers and magazines where they had images of heart-shaped faces and square faces and they would state which shapes suited you. You don’t see those so much anymore, as they are nonsense and the consumers realised it. If you go into a normal optician, you tend to see a variety of different shapes that do generally work on people. Whether they fit them on the bridge or whether the arms are right is not clear. You will see a generic mix of shapes and if the opticians are good buyers, they will have bought enough to service most people in a generic sort of way. The reason people have used those devices in the past is because you had to buy off the shelf. There wasn’t really a bespoke service.

What I do is I take that same principle, as I have a fully functioning opticians here. You can walk away with a pair of glasses that fit you reasonably well, as with most opticians. But in actual fact, what we’ll do is say – we like this frame and then alter it in terms of shape and style. The principles are there in all opticians and everyone is trying to match face shape to frames as much as they can. But, I am taking that to the next level by starting with something you like and making it better. On my personal appointments, I will pretty much start with a blank piece of paper and sketch something. But generally speaking, if you come to my store, we will start with something the customer really likes and we then bring it on to the next level. It hasn’t necessarily been ignored, but the limits of normal business have prevented them from being able to cater for this.

KH: How would you say the industry has changed?
TD: It keeps changing faster and faster, almost every couple of months. It is now all about individuality in whatever brand you are looking at. There are many people now marketing a bespoke service, but it is generally offering their best-selling frame in twelve different colours. Often these bespoke services are also only offered in plastic, which is the easiest one to do and is often not that accurate and there is no designer behind it.

Read next: Jasper Johns’ alternative perspectives at the Royal Academy

If you come to us, there is a designer in-store and then a designer in my head office who is designing the frame on your face. It is then individually made for you to 0.1 of a millimetre. There is nobody doing anything like that, but there are lots of people in customisation and 3D printing who are coming into this sphere. I was at a trade show in January this year and two years ago, there were two other brands there. But this year, there were twelve other brands there offering some kind of customisation service. This boom is happening and you will see more and more customisation. It is the future of eyewear. You will then also see the big players, such as Luxottica, which owns most of the brands, trying to protect their system. They buy up the industry. For example, Luxottica and Essilor are merging at the moment to make the biggest retailer in the world. Between them, they will own over half of the industry. That is happening in eyewear as well. I think that will carry on happening.

The new Tom Davies store in Covent Garden

KH: Why did you decide to move your factory from China to Britain?
TD: There were many reasons for this. There is no eyewear industry in Britain. I think ten years ago, I would have been too threatened by the idea of training up the next generation of eyewear makers. But now at 42, I don’t feel threatened by that. I am going to be training people, we are bringing in a new generation and we have to create our own supporting industries for it in the UK. We will set up factories here and I find that an exciting challenge.

And also, I am 42 and it’s hard work to travel to China every six weeks. I live in perpetual jet-lag. I am now the master of upgrades, I know everything about everything on airplanes and I know the check-in people. But, I can’t keep doing that. The cost in China is also not what it used to be. Shenzhen is a fabulous place to do business, but it is actually more expensive than Hong Kong, and Hong Kong is as expensive as London. Therefore, economically there is not much of a financial benefit in being based there. Within three years, there will be no financial benefit at all.

Following his debut runway show at the 2015 Mercedes-Benz Fashion Week in Berlin, William Fan has emerged as one of the most exciting new talents in the fashion world and was recently selected as this year’s winner of the prestigious Mercedes-Benz International Designer Exchange Program. Here the German designer talks to Kitty Harris about working for Alexander McQueen, fusing traditional Asian materials with contemporary design and the androgynous future of fashion.

William Fan

LUX: How did you get into fashion design?
William Fan: I started to be interested in fashion at a very young age. The moment I could walk, I was always headed towards my mum and dad’s wardrobe. I loved styling. Then I started learning to sew and created my first wardrobe pieces when I was a teenager. After my high school degree, I wanted to perfect my art, so I went to the Netherlands to start my Bachelor of Arts in Fashion Design.

LUX: What was it like working for Alexander McQueen’s couture house in London?
WF: It was a unique experience. During the time I was working there, Lee was still alive and I could observe his power in every single detail he created. I learned to be a perfectionist and to tell stories with my collections.

LUX: You merge Asian materials, like cashmere and silk, with tecnhopolysether and bast fibre creating your own Euro-Asian dynamic. How does your Asian heritage influence your designs? And can you explain your process of sourcing fabric?
WF: I travel to Hong Kong and China four times a year. I go to the local markets and get inspired by the huge offerings. You can find everything there. From standard cottons and silks to crazy 3D PVC materials. I love the clash and the play-fullness when combining different materials.

I’m proud to have Chinese origins. I like to show this in a very quiet way, by putting Asian elements into my work. I like to analyse Chinese costumes, Kung Fu uniforms and I love watching old Bruce Lee movies.

Backstage: William Fan A/W Collection 17/18

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LUX: You were chosen as one of the designers by Mercedes-Benz’ International Designer Exchange Programme with your works debuting in Berlin in 2015. What did this achievement mean to you?
WF: I’m happy to show my work on an international platform. Mercedes Benz has been a big supporter since day one. They gave me my first runway show in Berlin in January 2015. I’m very thankful!

LUX: Your designs were used in the MB Collective video with M.I.A. at the start of 2017. How would you describe this experience?
WF: Exciting, surreal and happy. The moment I saw M.I.A. in a total WILLIAM FAN look it was truly smashing.

Backstage A/W Collection 17/18

LUX: What do you enjoy most about your work?
WF: I love to create an emotion, image and world you can dip into. My collections always tell a story and I like to see my work as a movie. Every season there is another chapter, different scene or topic. But it always connects to the last one, which is really fun to play with. And of course I love to see my garments on random people on the streets. This is the most uplifting compliment.

LUX: You seem to be an international citizen moving between Germany, London, Hong Kong… how does travelling influence the way you design?
WF: Traveling makes my work more dynamic and diverse. I like to combine opposite energies.

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LUX: What does the term “stylish” mean to you?
WF: I don’t like that term. It feels very old fashioned.

Willam Fan A/W Collection 2017/18

LUX: Your clothes are designed to be unisex. Do you think that this is a direction fashion is moving towards?
William Fan: I think so. Take the phenomenon of sneakers. It doesn’t matter if you are a kid or grandma. Everyone is sharing a similarly styled sneaker. I think it will be the future… also in terms of ready to wear. Don’t give any borders or stamps to your clothes. If they fit and look good, who cares about the branding for women or men. I like to describe my wardrobe as ageless, universal and timeless. It’s meant to be open for everyone who wants to explore WILLIAM FAN.

LUX: What’s next for your brand?
WF: I’m trying to build up a solid base in terms of strong season-less wardrobe pieces. Those items will be sold on my online shop, which will be launching soon and I hope to grow my business internationally.

williamfan.com, mbfashionweek.com