Magnus Renfrew has twenty years’ experience in the international art world, the last decade of which have been spent in Asia

Magnus Renfrew knows about art fairs in Asia. He co-founded Art Hong Kong (now Art Basel Hong Kong) and has launched numerous other fairs in the region. He speaks with LUX about Art SG, the fair he and his partners launched in Singapore as a hub for Southeast Asia, the Asian art market, and the future of art fairs

LUX: Do you think Singapore will become an art and/or cultural hub for Southeast Asia? Why did you choose Singapore rather than (for example) Bangkok, Jakarta, or KL?

Magnus Renfrew: Each city is unique with individual strengths and spheres of influence. Singapore is the gateway to Southeast Asia and as the de facto hub for the region, which has a population of 650 million people nearing the size of Europe, so logic dictates that it too should host an international art fair to serve a region that has some of the fastest growing economies in the world. What’s more, Southeast Asia has a diverse and exciting range of cultural ecosystems, and we want to bring together these communities alongside the international art world. Singapore has exceptional infrastructure and transport links, great hotels and restaurants, English is commonly spoken, Mandarin is commonly spoken. All these factors make it an exceptional place to host a major international art fair.

Furthermore, Singapore has a strong local art scene, with local galleries and considerable government investment in art and culture, which sees an active interest in growing the ecosystem in the city. The city’s cultural landscape is developing rapidly with world class museums such as the National Gallery of Singapore, Singapore Art Museum, alongside a growing cluster of commercial galleries, and an increasingly engaged community of collectors. We saw the successful launch of our inaugural edition last year, and I am excited to see the fair continue to develop against this exciting backdrop.

The case for Singapore is continuing to build as it gains greater importance geo-economically, geo-politically and as the Asia centre of wealth management. Singapore is in the ascent in every aspect and culture will inevitably be a part of that story.

LUX: You have significant fairs in Japan and Taiwan. What is the secret of a successful art fair in East Asia?

MR: It is important to have a solid premise for the fair, to identify the natural catchment area, to focus on who the fair serves, and to build domestic and regional support from all stakeholders – the government, galleries, collectors, and institutions. There are no shortcuts and it takes time to build.

What are the differences between Art SG and Art HK at a similar stage?

MR: The overall context of the art market in Asia is of course very different and the collector base across Asia has developed out of all recognition. In a very short space of time ART SG has successfully been able to attract a geographically diverse audience from across Southeast Asia and beyond. The context for ART SG is very different. When we started ART HK there were few institutions and an art scene heavily focused on auctions – it is arguable that ART HK played a significant role in building the case for Hong Kong as a cultural hub and in encouraging collectors to understand the importance of the gallery system. Singapore’s art scene is much more established than Hong Kong was when we launched, with a vibrant gallery scene and exceptional institutions, as well as a pro-active private collectors and foundations. This was reflected in the extraordinary diversity and quality of offerings during Singapore Art Week.

ART SG has its own distinctive identity as an important meeting point for collectors and art lovers from Southeast Asia and around the world by bringing together the best of regional and international galleries and artists, alongside dynamic programming to deepen understanding of its cultural context.

Follow LUX on instagram: luxthemagazine

LUX: Second year of Art SG saw some galleries (Perrotin, Zwirner, Esther Schipper) not return – why? Will they be back?

MR: Galleries have a host of different reasons that play into their decision making including their own programming. Pace is going to be opening their space in Tokyo this year, so they will be participating in Tokyo Gendai for the first time. Perrotin has chosen to do Taipei Dangdai and Tokyo Gendai this year. A number of galleries who chose to sit out ART SG this year visited the Fair and expressed how impressed they were with the quality of attendance, the buzz and the energy. I would anticipate that we will be working again with those galleries in Singapore and elsewhere in the future.

Southeast Asia’s leading international art fair (ART SG), attracted 43’000 visitors in 2023.

LUX: How did this year’s edition do, commercially?

MR: We are delighted by the response to the second edition of ART SG. Throughout the fair’s four days, galleries reported speedy and sustained sales, with works placed in major private and institutional collections. Galleries highlighted an enthusiastic response from both established and emerging collectors from all corners of the world, with many noting that ART SG had provided a great platform for meeting new collectors.

A snapshot of reported sales include: Thaddeaus Ropac sold a work by Anselm Kiefer for EUR 1.1 million, alongside works by Lee Bul, Miquel Barceló, Jules de Balincourt, Alex Katz, Oliver Beer, Mandy El-Sayegh, and James Rosenquist; Sundaram Tagore sold a range of works by Hiroshi Senju, Jane Lee, Miya Ando, and Zheng Lu for a combined total of over USD 1 million; White Cube sold works by Tracey Emin, Jessica Rankin, and Darren Almond, among others for a combined total of GBP 1.5 million; Waddington Custot sold two sculptures by Barry Flanagan, including a work sold for USD 680,000 to a Chinese resident of Singapore, an installation featured as part of PLATFORM by Ian Davenport sold for USD 360,000 and two sculptures by Yves Dana, including a work for sold for USD 92,000 to a collector based in Singapore; Lehmann Maupin sold a number of works, including a painting by David Salle sold for USD 250,000 to a prominent family collection in Singapore, alongside multiple works by Lee Bul and Kim Yun Shin for prices within the range of USD 200,000 – 300,000 and USD 60,000 – 90,000 respectively; Johyun Gallery sold a number of works, including a painting by Park Seo-Bo for USD 250,000 and multiple works by Lee Bae for prices in the range of USD 50,000 – 180,000 each; The Back Room placed an installation by Marcos Kueh featured as part of PLATFORM to an institution in Singapore with a price range between SGD 50,000 – 100,000; First-time participant Sabrina Amrani sold three works by Carlos Aires within a price range of USD 27,000 – 60,000 to private collectors in Singapore; Asia Art Center sold a number of key works by Li Chen and three works from Ju Ming’s Tai Chi Series, all of which have been acquired by private collectors, with a total value of around USD 600,000; Waterhouse & Dodd sold four works by Duncan McCormick to private collectors in the UK, South Korea, Italy and Hong Kong for a combined total of USD 150,000; albertz benda reported a sold-out presentation of three new paintings and four mixed-media watercolours by Australian painter Del Kathryn Barton to a Chinese collector on the opening day; Carl Kostyál reported a sold-out booth of Indonesian artist Atreyu Moniaga, with works priced at USD 18,000 each; Harper’s sold a painting by Eliot Greenwald for USD 40,000 and a painting by Marcus Brutus for USD 32,000; and MAKASIINI CONTEMPORARY sold works by Nir Hod and Jacob Hashimoto for USD 68,000 and USD 40,000 to private collectors in Singapore and Belgium respectively.

Read more: Shangri-La, Singapore, Review

LUX: Some collectors said to us that official programming for significant collectors was limited compared with early years of Art HK. How would you respond to this?

MR: Within ART SG’s bespoke VIP program, collectors were able to tap into a vibrant and dynamic line up of art events, openings, and after-parties to enrich their experience of the overall fair and art week, including private collection visits in collectors’ residences, artist studio visits, gallery openings, and more. Collectors were able to RSVP to openings and curator-led tours of private collection and foundation exhibitions such as Translations: Afro-Asian Poetics by non-profit collector-led foundation The Institutum, curated by Dr Zoe Whitley, director of Chisenhale Gallery, London, Rough, presented by The Pierre Lorinet Collection, and Chronic Compulsions presented by The Private Museum, as well as tours of major museum exhibitions at the National Gallery of Singapore and Singapore Art Museum. There were after-hours events including specially curated art parties at the National Gallery Singapore, ArtScience Museum, and Soho Residency, and a young collectors’ party at a spectacular new venue with views over the Singapore skyline. Our collector programming also offered immersive art and food dining experiences created especially for ART SG, such as Indochina by Senang Supper Club which featured two Cambodian artists discussing their art and non-profit initiative in Siem Reap over a curated menu from the Indochina region; a walking tour of cultural precinct Kampong Glam led by award winning cookbook author Khir Johari and Michelin-starred chef Ivan Brehm; and a four-hands Afro-Asian dinner which reflected the narrative and curation of the Translations exhibition. In addition to the official programming by the fair, there were also a number of gallery dinners, collector-hosted evenings, and karaoke nights and many other parties to round off the week.

LUX: What will you change about the fair for 2025?

MR: We will be doubling down on VIP outreach across our core constituency of Southeast Asia, Indonesia, Philippines, Thailand and also Vietnam, as well as markets with a resonance with Singapore, such as Australia, New Zealand, Chia and South Asia, and expanding the programming of the fair both within on-site and for collectors throughout the city. We will be working on more collaborations with privately owned museums and foundations, as alignment with collector-led initiatives that seek to make a difference is key to ART SG’s ambition to grow the regional ecosystem.

The Art SG 2023 showcased an assembly of leading galleries from the region and around the world

LUX: What is the main collector base for Art SG?

MR: There is an established base of sophisticated collectors in Southeast Asia and a younger generation of new buyers who are hungry to engage with contemporary art.

Singapore is also increasingly home to the region’s wealth base as demonstrated by the growing number of family offices opening here, as well as its emerging position as Asia’s tech capital. This together with established international businesses and entrepreneurs recognising the benefits of Singapore as the base for their pan-Asian operations, provides the context for a rapidly developing, forward thinking and affluent collector base, who are increasingly engaging with Singapore’s rich cultural landscape.

Thousands of VIPs attended the preview day of ART SG’s highly anticipated second edition. Strong attendance from both local and international collectors and leading figures from institutions, museums, and foundations, hailing from Indonesia, Thailand, Philippines, Malaysia, Vietnam, Australia, Japan, Korea, Mainland China, Hong Kong, Taiwan as well as Europe and the US. Notable visitors include:

Collectors

• Alan Lau, Hong Kong
• Albert Lim & Linda Neo, Singapore
• Alexander Tedja, Indonesia
• Alina Xie, China
• Andrew Xue, Founder of Pond Society, China & Singapore
• Belinda Tanoto, Founder of Tanoto Art Foundation, Indonesia
• Dato Noor Azman Mohd Nurdin, Malaysia
• Disaphol Chansiri, Thailand
• Ellie Lai, Taiwan
• Eric Booth & Jean-Michel Beurdeley, MAIIAM, Thailand
• Evan Chow, Hong Kong
• Han Nefkens, Han Nefkens Foundation, Spain
• Harayanto Adikoesoemo, Founder of Museum MACAN, Indonesia Iwan Kurniawan Lukminto, Founder of Tumurun Museum, Indonesia Jack Feng, China/Singapore
• Ji Dahai, Founder of Yalv River Art Museum, China
• Jim Amberson, Singapore
• Justine Tek, Director and CEO, Yuz Museum, China
• Kim & Lito Camacho, Singapore
• Kit Bencharongkul, MOCA Bangkok, Thailand
• Kulapat Yantrasast, USA
• Leo Shih, Taiwan
• Li Fan, Founder of Whale Art Museum, China & Singapore
• Mike & Lou Samson, Philippines/Singapore
• Nathan Gunawan, Indonesia/Singapore
• Nishita Shah, Thailand
• Patrick Sun, Founder of Sunpride Foundation, Hong Kong
• Pierre Lorinet, Singapore
• Pontiac Land Group, Singapore
• Rath Osathanugroh, Thailand
• Rudy Tseng, Taiwan
• Rvisra Chirathivat, Thailand
• Simon Cheong, Singapore
• Shunji Oketa, Founder of Oketa Collection, Japan
• Thomas Shao, Founder of the MetaMedia Group and the Shao Foundation, China TY Jiang, Les Yeux Art Foundation, USA
• Wu Meng, M Art Foundation, China
• Xiaoyang Peng, Founder of DRC No.12 space & The Bunker, China
• Yang Bin, China

Institutions

• Aaron Cezar, Founding Director, Delfina Foundation, UK
• Aaron Seeto, Director, Museum MACAN, Indonesia
• Derek Sulger, Co-Chairperson, UCCA, China
• Eugene Tan, Director of National Gallery Singapore and Director of Singapore Art Museum, Singapore
• Jessica S Hong, Senior Curator, Modern and Contemporary Art, Toledo Museum, USA Judith Greer, Director of International Programmes for Sharjah Art Foundation, UAE
• Lee Dong Kook, Director, GyeonGi Cultural Foundation and Gyeonggi Province Museum, Korea
• Mami Kataoka, Director, Mori Art Museum, Japan
• Pi Li, Head of Tai Kwun Contemporary, Hong Kong
• Sook-Kyung Lee, Director, The Whitworth, Manchester & 14th Gwangju Biennale Stefano Rabolli Pansera, Director, Bangkok Kunsthalle, Thailand
• Virginia Moon, Associate Curator, Korean Art, LACMA, USA
• Xie Siwei, Museum Director, Yuz Museum, China
• Xue Tan, Senior Curator, Tai Kwun Contemporary, Hong Kong
• Zoe Whitley, Director, Chisenhale London, UK

LUX: Will art fairs remain strong commercially in the coming decades?

MR: Art fairs always have and will continue to play a crucial role in the art market.

The recent edition of ART SG saw 45,303 visitors across four show days, hailing from Indonesia, Thailand, Philippines, Malaysia, Vietnam, Australia, Japan, Korea, Mainland China, Hong Kong, Taiwan as well as Europe and the US – in increase from the 43,000 visitors who attended the inaugural edition. The strong international attendance from leading private collectors, as well as directors, curators, and patrons from international museums and institutions at ART SG is a testament to the importance and appeal of the fair as the region’s leading fair.

Meaningful dialogues and insightful conversations were held alongside the Fair at ART SG 2023

LUX: Will Art SG help awareness of SE Asian Art grow on the global scene, or is that not the point?

MR: Definitely. As Southeast Asia’s leading art fair, ART SG invites the world’s leading collectors and art leaders to experience Singapore and all that the region has to offer, but also encourage a new generation of emerging collectors to be inspired by the rich diversity of art the region.

ART SG 2024 saw a strong line-up of Southeast Asian galleries making a dynamic debut at the fair, as well as some of the most significant galleries from across the region, featuring both established and emerging Southeast Asian artists. Some of the highlights include FOST Gallery (Singapore) which presented a a significant showcase reflecting recent contemporary art practice in Singapore and Southeast Asia, including Donna Ong, Eng Tow, Ian Woo, Wyn- Lyn Tan, as well as Elaine Roberto-Navas and Luis Antonio Santos; Gajah Gallery (Singapore, Jakarta, Yogyakarta) which showed renowned artists from the region including Suzann Victor, Yunizar and Uji “Hahan” Handoko Eko Saputro; and BANGKOK CITYCITY (Bangkok), whose first-time participation featured a new installation by Tanatchai Bandasak, large-scale paintings by street artist Alex Face inspired by significant political movements in Thailand, and works by renowned Thai artist Korakrit Arunanondchai featuring his classic motifs of denim, fire and mythical imagery, among others.

artsg.com

Has Rosewood’s Sonia Cheng created the best city hotel in the world, with the Rosewood Hong Kong? Darius Sanai revisits, five years after the grand opening

The Asaya Kitchen. The Rosewood is built along the water’s edge in Tsim Sha Tsui, facing the towers of Central Hong Kong.

Standout new hotels in cities are hard to create. If you are building a resort on a tropical island, as long as you have the right hardware – pools, beaches, spa, restaurants and bars, leisure facilities and access – and the right people to operate and sell it, then the right crowd should start flowing in.

The world’s great cities are different. They tend to have existing hotels which are part of the social fabric and history of the city – think of the Pierre or the Carlyle in New York, Claridge’s or the Ritz in London, the Plaza Athenee or Bristol in Paris. Newcomers can’t just win by offering the right suites and chefs. They have to establish their own legend among the locals. And they are hypersensitive to location. Claridge’s wouldn’t be what it is if it had been built 200m north across Oxford Street.

In this context, Hong Kong’s Rosewood had a battle on its hands when it opened in the spring of 2019. It was a new building, part of a broader complex created by one of the city’s big families, the Chengs, on the “wrong” side of the water, in Kowloon. There was no history or legend: despite being from Hong Kong and operating hotels around the world, Rosewood’s owners had never had a Rosewood Hong Kong, One of the city’s landmark properties, the Peninsula, was just down the road.

A Manor Suite. There is an intellectually-driven curation of design detail throughout the rooms

Just weeks after the lavish launch party, which I attended, Hong Kong was thrown into social unrest as political protestors barricaded streets, burned buses and fought running battles with police in full body armour firing tear gas. No hotel was immune to having its guests risk walking into a teargas barrage. Then came the pandemic, with Hong Kong suffering among the most severe lockdown restrictions in the world; at times any visitor from the rest of the world had to self-quarantine, at their own cost, for weeks on arrival.

Now, nearly five years later, I have been back to the Rosewood Hong Kong for the first time since its launch party. I expected a fine luxury hotel in the mould of other new-ish city hotels, still finding its feet, perhaps. After a four day stay, I am increasingly convinced I found something that changes the game.

LUX checked into a Harbour Corner Suite. We were dreamily distracted by the coffee table book selection, the view, and just out of picture, the drinks trolley, and telescope.

Rosewood’s dramatic tower sits linked to the equally new K11 MUSEA complex on the Victoria Dockside in Hong Kong. The hotel’s designers have made a virtue of its waterfront location across the water facing Hong Kong Island: I tried three rooms, each with an unbelievable view across the water, through floor-to-ceiling windows, of the city’s skyline and the Peak mountain rising up behind. By night, it is a Supernova-style light show. By day, you are distracted by pleasure boats and other traffic floating back and forth along the water.

Design is a difficult element at a time when the wealthy are going through a generational change: do you create interiors aimed at the older or the emerging generation? Rosewood has succeeded in doing both, primarily through the sheer thoughtfulness and quality of the materials, designs and public areas. If it were a luxury brand, this hotel would be Hermes: traditional yet playful, compromising nothing on cost or quality, with a clearly executed and thoughtful vision.

The Butterfly room, featuring Damien Hirst’s Zodiac series.

Lift lobbies are created as drawing rooms, with beautiful furniture and cabinets containing everything from Chinese vases and models of 1970s cars to the best curated selection of coffee table fashion and design books I have seen anywhere. In the bedrooms, it’s all about the quality of detail. My coffee machine and waste baskets were nestled in cool contemporary leather pouches. The bath had a wooden book and magazine holder on one side .

The glass bottles of Votary shampoo, shower gel and conditioner were encased in their own glass cabinet, swathed in light wood, within the two-person, walk through marble showers. The extending reading light had its stem swathed in stitched leather. The drinks trolley, with its curved metals, contained a beautifully presented nest of hyper-artisanal bottles of spirits and liqueurs and a couple of good cocktail books.

From the door fixtures to the lacquering, from the choice of marbles to the design threads of the bathrobes and staff uniforms, everything at the Rosewood is a level above your average luxury hotel.

The look is not fussy or traditional. It’s firmly up to the minute, yet unites a Gen Z fashion leader and a Boomer conglomerate owner. The creativity of the design combines hints of art-deco, sprinkles of 20th-century modern, and a very up to the minute aesthetic which somehow takes in classicism. Solid woods, brass, and other metals are everywhere. Things that should ring hollow, literally, make a “thunk”. Yet there is no brashness, not a hint of bling.

Outside the rooms and lift lobbies, I spent quite some time in the Manor Club, a 40th-floor refuge containing a dining room, bar, snooker room and drawing room. Again, everything was about the detail. Lighting was exquisite, and slightly different for each area – I liked the darkness of the two-seat table by the floor-to-ceiling window in the bar area. The cocktail list combines the confidence of a family that owns one of the world’s bar legends, Bemelmans at the Carlyle in New York, with a next-gen curiosity and edge. Even the wines by the glass are perfectly curated – I remembered that Sonia Cheng’s husband is, independently, the most respected importer of fine wines in Hong Kong, and although I he doesn’t input directly on the lists, this is a place that is obsessive about details.

The Asaya Spa has indoor and outdoor wellness facilities, giving an island resort feel

Meanwhile down on the 6th floor the spa is another feast of organic, artisanal design detail, with a room devoted entirely to which herbs, extracts and smells should accompany your treatment and an outdoor terrace with a view. The outdoor pool (closed for annual maintenance when I visited) is open year-round and a destination in itself with its dramatic views.

None of this would work without service and local engagement – nobody wants to stay at a tourist hotel – and the Rosewood has both, and how. Staying in a suite, I was assigned a team of butlers, nattily dressed in the group’s trademark grey and black check. Butlers can sometimes be a mixed blessing in hotels. Unlike your own personal Jeeves, tomorrow’s butler may have no recollections of your conversations with today’s, meaning for sometimes tiresome repeat conversations. These ones had nailed it with their handovers: it’s as if butlers on different shifts had the same brain but different faces. They were charming, too, not service robots: chic young locals. I had a lively conversation about my sneakers with one, a big Off-White fan.

Working out exactly which potions and lotions you wish to avail yourself of before your treatment is a relaxing experience in itself

You could, frankly, just spend your F&B time in the Manor Club, so special is its design, vibe and service, but the Rosewood has numerous other restaurants to try, and is umbilically linked to K11 MUSEA, the art, culture, retail, gastronomy and craft showcase created next door by Sonia’s brother Adrian Cheng – this is a creative family, creating stuff at a level not seen anywhere else.

One of the Rosewood bars is called The Dark Side, a self-ironic reference to what those on Hong Kong Island call the Kowloon side of the water where the Rosewood sits. There is a private members’ club on the 53th floor, Carlyle & Co, teeming with locals; apparently the hotel as a whole is a favourite for wealthy Hong Kongers on staycations.

The Rosewood has the confidence to be self-referentially ironic. The Dark Side bar is a humorous reference to what locals in central Hong Kong across the water call this side of the Harbour

And what about that location? The area has become a destination in itself, with K11 MUSEA and notably the new M+, Asia’s best contemporary art museum, along the road. If you need to get to Central Hong Kong for meetings or visits, it can take 10 minutes with no traffic, or more on a bad day. There is also direct access, via K11 MUSEA, to TST MTR (subway) station from which it is one stop to Admiralty station in the heart of Hong Kong Island. Or you can take the Star Ferry across the bay.

The ambition of Rosewood Hong Kong is immense, and it has been executed with a combination of mathematical thoroughness – Sonia Cheng is a mathematics graduate from Harvard – exquisite taste in design and materials, deep knowledge of how hotellerie should work, and an innate awareness of how to create timelessness, which always starts with quality. I can’t think of a better newly built city hotel anywhere in the world. Rosewood, originally an American hotel company, is Asia’s luxury brand now. Maybe we can expect some handbags and silk scarves next.

rosewood.com

Patrick Sun at the exhibition “Myth Makers – Spectrosynthesis III”, JC Contemporary, Tai Kwun, Hong Kong

One of Asia’s bravest, most significant and most understated art philanthropists, Patrick Sun speaks to LUX about the challenges LGBTQ artists face in Asia, and who he is collecting

Patrick Sun has a light touch. When we bump into him at an art event in Singapore, he chats joshingly with some of the other collectors and exchanges thoughts on which parties to attend, or avoid. But his mission is anything but light.

A Hong Kong native, educated in Canada, Sun made his fortune in property development in his home territory, all the while turning his attention to philanthropy with a purpose. His Sunpride Foundation supports LGBTQ artists and art in a region where they have traditionally been sidelined or suppressed.

Follow LUX on Instagram: luxthemagazine

Sunpride has supported and co-hosted a series of shows entitled “Spectrosynthesis”, which started as the first LGBTQ themed exhibition staged in an art museum in Asia. Sun collects art from Asian artists with an aim to support LGBTQ creators. Beneath the light touch is a serious purpose, and an awareness of the suffering many LGBTQ artists face, particularly in more conservative Asian cultures.

Hollyhock and Pure Daisies, 2020, by Yue Minjun

Sun chatted with us after our meeting in Singapore. He has raised a great deal of awareness in a short space of time, but there is a long way to go in a continent where homosexuality is illegal in several countries, and has a cultural stigma in others.

LUX: What recent acquisitions are you most excited by, and why?
Patrick Sun: I can think of two that are each significant in their own way. First, Yue Minjun’s Hollyhock and Pure Daisies: a portrait of gay icon Leslie Cheung and his partner, which features two flowers that are not supposed to bloom in the same season, representing the love between a couple who are not “meant” to be together. Second is Visitors by Bhupen Khakhar. We have always wanted to collect Bhupen Khakhar‘s paintings, but since his retrospective at Tate Modern in 2016, good works are rare to come by and prices have skyrocketed, often reaching several times the high estimate at auctions.

Artist Ming Wong, Patrick Sun and artist Korakrit Arunanondchai at the “Spectrosynthesis II” opening party, Bangkok, 2019

When we saw Visitors, a beautiful painting that was to be auctioned in London, we asked for a private viewing and got to meet a Sotheby’s expert, Ishrat, who is passionate about Khakhar’s work. The painting shows the artist lying on his deathbed, revisited by spirits of past friends and lovers. Ishrat shared how Bhupen didn’t paint any explicit scenes concerning his sexuality until his mother passed away. She got emotional as she related the story and it also brought tears to my eyes, because it dawned on me that the year my mother died was the year I started Sunpride. Ishrat and I cried on each other’s shoulders and did the utmost to help us procure the work, concluding the purchase just hours before it was supposed to go under the hammer.

Visitors, 1998, by Bhupen Khakhar

LUX: Do you only collect works by LGBTQ artists?
PS: As illustrated by the Yue Minjun work, the answer is no. We also collect works by straight artists that explore a queer theme. It is important to have such representation, so that nobody needs to be labelled or “outed” through their participation in our collection or exhibitions.

Patrick Sun with collector Rudy Tseng

LUX: Is real progress being made on LGBTQ affairs in Asia?
PS: Progress often comes in ebbs and flows. On the whole, I see more progress than regress towards the queer community. Take Hong Kong as an example: on issues such as spousal visas, taxation and housing benefits, there has been some advancement in the right direction. Just in February 2023, transgender people scored a victory in gender status on identification documents. I remain optimistic things will change for the better.

Installation at “Spectrosynthesis II”, Bangkok Art and Culture Centre 7/F, BACC, 2019

LUX: Do artists of all types have more freedom and creativity than a few years back?
PS: I am not in a position to answer for all artists, but for queer artists in Hong Kong I believe the answer is affirmative. In recent years, we have had more LGBTQ themed exhibitions, both in public and private spaces. We have also seen more presentation of such works in art fairs and galleries.

Sun with artist Yuki Kihara at Kihara’s installation, Paradise Camp, New Zealand Pavillion, 59th Venice Biennale, 2022

LUX: What are the most exciting places in Asia for art?
PS: I think Hong Kong and Tokyo are two very exciting cities to focus on. Art Basel returned to Hong Kong in full force in March 2023, and the excitement was palpable and invigorating. I also have very good feelings about Tokyo when it comes to queer art: the sentiments are ripening for a more diverse and inclusive society, and a new art fair will take place in July 2023.

Installation view featuring Conundrum Ka Sorga (To Heaven), 2019, by Anne Samat, at “Myth Makers – Spectrosynthesis III”, JC Contemporary, Tai Kwun, Hong Kong, 2022

LUX: Singapore is getting a creative glow, but will it catch up with Hong Kong for art?
PS: I have never felt there is a need to pitch one city against the other. If there is competition I believe it would be a healthy one. The market in Asia is certainly big enough to accommodate two or more art hubs.

Patrick Sun with collector Disaphol Chansiri

LUX: Are you pessimistic or optimistic about the future of creativity in Asia?
PS: I am by nature an optimist, and I believe that a positive attitude helps attract the right energy, especially creative energy.

LUX: What are the most interesting advances in digital art?
PS: Interactive installations and generative creations are two developments I find most interesting. Both use technology to reach beyond capabilities of the human mind.

Patrick Sun

LUX: Will AI kill art?
PS: I see AI as a way for humans to explore new horizons and perspectives. It is a collaboration between human and machines rather than a rivalry. I believe AI can enhance our artistic culture and diversity instead of diminishing it.

LUX: How have events in the past couple of years affected your mission?
PS: Our mission remains unchanged since the foundation’s establishment in 2014, but Covid has inevitably affected some plans. Our most recent exhibition, “Myth makers – Spectrosynthesis III”, at Tai Kwun, Hong Kong, was meant to be held concurrently with Gay Games in Hong Kong, originally planned for 2022. We were aiming for synergy between arts and sports to enhance acceptance for the LGBTQ community.

Passion, 2017, by Jun-Jieh Wang, at “Spectrosynthesis”, MOCA Taipei, 2017

Gay Games postponed its event due to the pandemic, but we decided to stay put. With Covid-related curbs, it was also difficult for our curatorial team to reach out to overseas artists to commission works and to get them to fly here for installations.

Read more: Art Dubai opens in support of South Asian artists

However, staging the exhibition in Hong Kong, where our curators and myself are based, helped to minimise the impact of this issue. There was actually a sliver lining, because we benefitted in having a broader local representation; more than one-third of the artworks presented in “Myth Makers” were created by artists based in Hong Kong.

Find out more: sunpride.hk

This article was first published in the Spring/Summer 2023 issue of LUX

Alan Lo

The restaurateur, collector and leading figure in the Hong Kong art scene on who’s hot, what’s not, and why Singapore may soon be the next Asian art hotspot

LUX: You have been involved in the art world in Hong Kong for around 15 years. How has the scene changed there during this period?
Alan Lo: Hong Kong has become one of the most important art hubs in the world, on a par with London and New York. With Art Basel and M+, as well as local non-profits such as Asia Art Archive, Para Site and Design Trust, it is truly one of the best places to see art and buy art.

LUX: Are Hong Kong and China producing as many interesting new artists as 10 years ago?
AL: Things are a little complicated lately with social unrest followed by Covid, but I still see amazing new talent emerging. Hong Kong artist Ng Wing Lam is one of my latest acquisitions.

Untitled, 2020, by Arjan Martins, from the collection of Yenn and Alan Lo

LUX: Is there a move away from the “Western eye” in recognising artists from the region, or to be successful does an artist still need to be rated by collectors in the US and Europe?
AL: Contemporary art should be borderless. Think of artists Chris Huen Sin-kan and Wu Tsang, who show and are collected globally. As much as China and Asian collectors are on the rise, in the near term the US and Europe are still very influential, so it is important for artists to participate in projects with Western institutions.

Follow LUX on Instagram: luxthemagazine

LUX: Which living artists internationally will be as remembered and sought after in 50 years time as the early 21st-century greats?
AL: Danh Vo, Mickalene Thomas, Shinro Ohtake, Rirkrit Tiravanija.

LUX: Hong Kong is highly digitised. How is digital art interacting with conventional art?
AL: Digital art is very now and Hong Kong is very much at the forefront. From digital art fairs to the level of interest in NFT art among collectors, new and established, these are signs of the significance of this new medium.

Singapore’s bay area by night

LUX: The art-market peak has been called many times over the past 10 years. Will it peak?
AL: Who knows!

LUX: Is there a new generation of collectors making the art market and new artists in their own way, and is that interesting for you?
AL: For sure. Especially in China, we see the emergence of the very young who are buying very well and very quickly. It is definitely a new phenomenon that is here to stay, I think.

LUX: Is the influence of Singapore in the art world likely to increase? Why has it not done so today?
AL: The collector base is quite small today, but with the influx of capital and talent into Singapore, the city state is already seeing change in the scene, and Art SG debuting in January 2023 will be a catalyst.

Bakk, 2022, by Cheikh Ndiaye, from the collection of Yenn and Alan Lo

LUX: Will what you do help stimulate a ground-up art movement in Singapore?
AL: I’m just an insignificant collector, but I do hope to see more artist- and curator-led spaces to make scene more interesting.

Read more: Adrian Cheng On Brands To Watch In 2023

LUX: In 10 years time, will collectors and enthusiasts visit Singapore for its art scene?
AL: There is the potential. Its ecosystem already has Singapore Art Museum (SAM), Singapore Tyler Print Institute (STPI) and National Gallery Singapore. I’d like to see more collector-driven and foundation spaces, as well as non-profits.

LUX: Name your five most interesting artists in the world right now.
AL: Oh de Laval, Wahab Saheed, Soimadou Ibrahim, Wu Tsang, Sarah Cunningham.

Find out more: @alanyeungkit

Image courtesy of Rosewood Hong Kong

Adrian Cheng is a leading tastemaker, founder of cultural-retail destination K11 MUSEA, art collector and investor in innovative companies. Here he outlines brands catching his eye for 2023

Jewellery

Image courtesy of K11 MUSEA

Brands that bring creativity and self-expression to the mainstream always attract my attention. That is why I find L’ÉCOLE School of Jewelry Arts interesting. Starting in Paris and now expanding into Hong Kong (at K11 MUSEA, above) and Shanghai, their studios provide amazing courses for people wanting to learn and create jewellery in all forms.
lecolevancleefarpels.com

Fashion

Image courtesy of Keystone Press/Alamy

Like many others, I’m watching Schiaparelli (above, in 1978), to see what happens next. Having met creative director Daniel Roseberry and hearing about his love of savoir-faire and mixing old and new, I’m really excited to see how he continues to evolve the brand. I have a feeling there are many exciting things to come.
schiaparelli.com

Image courtesy of Reuters/Alamy/Benoit Tessier

AMI Paris is a brand to keep an eye on as it rapidly expands. I love its mix of casual and chic – it’s so great for everyday wear. The brand has a mission to make luxury fashion accessible and that really resonates with me, too. I’ve also been very impressed with its collaborations with Moncler and Eastpak.
amiparis.com

Retail

Image courtesy of Stephen Grant/Alamy Stock Photo

I’m a huge fan of Arbikie’s whisky (above), which is grown, distilled and bottled on a Scottish family farm with a 400-year history. The distillery is fairly new, and it is making waves because of its ‘field-to-bottle’ approach. Sustainability is very important to me. Plus, the flavour is second to none.
arbikie.com

Image courtesy of Keystone Press/Alamy

I’m always on the lookout for what’s hot in the tech industry. I’ve been really impressed with the London start-up VITURE. The brand’s VITURE One are XR smart glasses with a virtual screen so you can discreetly stream and game while wearing. They are super lightweight (and look just like classic sunglasses, which I like). I am a sucker for anything that combines fashion with technology.
viture.com

Image courtesy of AJL Photography Ltd/Rosewood Phuket

Asaya Wellness is a concept by Rosewood Hotels that the group is expanding across its properties, including Hong Kong. It combines therapies, meals and experiences to support physical and mental wellbeing. I may be biased, as Rosewood is family-run, but its Chi Nei Tsang treatment in Phuket, Thailand is mind-blowing.
rosewoodhotels.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Ronna Chao is Chairman of Novetex Textiles Limited, CEO of Novel Investment Partners Limited, Director of Novelpark Investments Limited, and has taken on various advisory and leading roles in foundations.  Here she speaks to Samantha Welsh about leadership, particularly at Novetex

1. How much is good leadership about effective communication?

Often as CEO, you find colleagues look up to you as the leader of the pack. Leadership is as much about offering a show of strength as it is about allowing the members of your team to feel that they are truly a part of something. During meetings, I regularly say: “What do YOU think?” This is because I want to promote an atmosphere in which everyone, regardless of rank, feels safe and free to speak and voice their opinions and recommendations. There is so much we can learn from each other and I really believe that mentoring is not one-way. Communication is a skill that requires constant practice and honing.

Follow LUX on Instagram: luxthemagazine

2. What is it about this collaborative style of leadership that you are passionate to share with next gen through Bai Xian Asia Institute?

Bai Xian Asia Institute is the brainchild of my dad, who had the opportunity to study overseas and believed in the importance of fostering friendship and understanding in young people across different cultures. We focus on supporting Asian students to study abroad within the region because we believe that one needs to understand and appreciate one’s own home region and culture before becoming good ambassadors elsewhere. We provide our scholarship recipients a secure space where they can exchange views, and this environment enables them to grow as individuals and as part of a community. As they become leaders in the various fields of their choosing, our hope at Bai Xian is that they extend their circles of influence and propagate their perspectives and experiences with the wider community. Having studied abroad for extensive periods of time myself, I too see the necessity and the advantages that come with intercultural and interdisciplinary education. The world is getting smaller and smaller, and the need for collaboration across borders, across industries, is so apparent.

3. At a personal level, how do you manage challenges in, or to, your leadership?

Things always evolve, and one way to maintain an open mind and curious mindset is to accept and embrace the fluidity of circumstances and situations. One thing I strive to keep in mind in my leadership is that I do not and cannot know everything. My liberal arts education at Brown allowed me to explore interests in different subjects and topics as an undergraduate. These experiences trained me to keep an open mind and have broader perspectives. My three children are growing into adults themselves, and I am constantly in awe of their wisdom and ability to absorb everything around them. At their age, it’s natural that they begin questioning me – but they know that questions, criticism are always welcome to me and the communication lines remain open. These days, the roles are reversed in many instances as there is so much that they teach me and I look forward to considering their experiences and perspectives, especially as they come into their own and forge their own paths.

4. What compelled you to return from US back to Hong Kong to lead Novetex, a pioneer in the global textile industry?

Returning to Hong Kong and working with Novetex was a wonderful opportunity and an enormous honour for me that our family trusted me to let me try and helm the company. Ron’s heavy investment in research and development (R&D) proved fundamental to modernising our business practices. We initially created The Billie System, an innovative upcycling process that reduces environmental impact, to address the textile waste that our company was producing on an internal level. Over the past decade, we’ve identified new ways to minimise our environmental impact, even down to our supply chain. We arrived at the idea of The Billie together with Hong Kong Research Institute for Textiles and Apparel (HKRITA). Because of how we began this venture, the focus has been on preventing materials from entering landfills and recapturing the value of these fibres.

5. Novetex is also a first mover in textile R&D and you are invested in a sustainable future.  Where have you found innovation to be most impactful under your leadership?

Novetex has been in business for five decades. We began this journey toward sustainability almost fifteen years ago when the topic was not popular as it is now. At Novetex, we pride ourselves on being our customers’ “Complete Yarn Resource,” which means we strive always to be creative and innovative in offering a wide variety of qualities, colours, custom-designed and specialty yarns.

Read more: Lazard’s Jennifer Anderson on the Evolution of ESG Investing

In a self-reflection process, we audited our environmental impact, and reviewed processes from our operations down to our supply chain. Textile waste was identified as one of our pain points and we started having conversations with stakeholders and other parties to address the issue. Rather than worry about whether the timing was right, we went full steam ahead – and incorporating sustainability into our mission and vision is paying off, slowly but surely.

6. What was the take-away in your speech to other leaders at Hong Kong’s Business of Design Week?

Prior to joining Novetex in 2010, I had little to no hands-on experience in factory operations, textile R&D, sales and marketing, and brand management. Having to assume a leadership role with such “limitations” was a challenge. Nobody knows everything, and humility, curiosity, open-mindedness, and the attitude for life-long learning are key drivers that can help us as we journey in uncharted waters. Innovation and change require not only vision and courage but also patience and persistence. It is a marathon, not a sprint; setting goals, constant reviewing, keeping the balance between reaching for stars and keeping your feet on the ground enable us to cover the distance bit by bit.

Find out more: www.novetex.com

International gallerist Pearl Lam

Art-world doyenne and owner of Pearl Lam Galleries on the foodie culture of her hometown of Hong Kong, why NFTs are hot and how there’s always more room for Asian artists on the global stage

My favourite museum in the region

There are so many incredible museums: Mori Art Museum in Tokyo, National Museum of Korea in Seoul, as well as Rockbund Art Museum, Power Station of Art and Chi K11 Art Museum in Shanghai

Where I go after a busy day at work

Back home to meditate

The last piece of art I bought

I bought two pieces, both from Mexico – one work is by Eugenia Martínez and the other is by Taka Fernández

Lam says that Hong Kong is fast becoming a global art hub

My favourite dining experience in Hong Kong

I usually have Cantonese cuisine, cooked in a private kitchen in the Wan Chai neighbourhood. It’s known for its upscale twist to Hong Kong classics. My favourite dishes are minced-fish soup and barbecued pork

What I think about NFTs

NFTs are hot! NFTs give artists and musicians the freedom to sell to end collectors or consumers directly – and it is already expanding from cryptocurrency to traditional currency investors. People in California and China seem to be particularly interested in building NFT platforms at the moment. It’s a new digital world that has pushed the art world to adapt

The artists I currently have my eye on

Annie Morris, courtesy of the artist and Tim Taylor Gallery

I love Annie Morris, Idris Khan, Philip Colbert and Gordon Cheung, who are all, coincidentally, UK-based artists. From sculptures to multimedia works and epic landscapes, their art is diverse and I love it

How the Hong Kong art scene has changed over the past 10 years

The art world was previously dominated by Europe and North America, but that has changed with the increase of international art fairs. In Hong Kong, we now have many world-class museums and galleries, which is exciting to see. Hong Kong is becoming a global art hub, especially since the opening of M+ was a success. It’s rare to have an Asian institution with sculpture, installation, photography and paintings that challenge the convention of traditional art

‘Mr Doodle in Love’ exhibition at Shanghai K11

My most memorable experience of the city

Hong Kong is my home, so I have many memories. But one that will always stand out is opening my gallery in the historic Pedder Building, which was built in the Beaux-Arts style in 1923

What frustrates me

I wouldn’t say it’s frustrating exactly, but I think there is always more room for Hong Kong artists on the international stage. For me, personally, it’s always been very important to support local artists by showing their work to new audiences

What I miss about Hong Kong when I’m travelling

I miss my friends and my foodie companions. Food is an important part of Hong Kong culture. When a dining experience combines art, through a discussion with artists or friends, it’s even more fun

Find out more: pearllam.com

This article appears in the Summer 2022 issue of LUX

Georg Karl Pfahler in his studio, 1965

Our contributing editor and columnist Sophie Neuendorf caught up with renowned Mayfair gallerist Simon Lee to discuss the Asian art market, NFTs and the enduring influence of Georg Karl Pfahler

Sophie Neuendorf

Simon Lee has always been at the forefront of artistic movements and changes in taste, showing emerging and established artists that represent the zeitgeist and rapidly gain popularity. Now, he’s presenting the first ever exhibition of German hard-edge painter GK Pfahler (1946-2002) in Asia.

Pfahler’s dogged pursuit of the hard-edge style make him one of the most unique German artists of the last half century. Throughout his career, his work remained steadfastly focused on the interplay of space, shape and colour. At the same time, his paintings contain traces of pop and minimal art, unifying two of the most prevalent styles of the 1960s.

Follow LUX on Instagram: luxthemagazine

During his lifetime, Pfahler exhibited alongside artists such as Frank Stella, Ellsworth Kelly, and Kenneth Noland in shows such as “Signale” at the Kunsthalle Basel, Switzerland and  went on to represent Germany alongside Gunther Uecker and Heinz Mack at the Venice Biennale in 1970. In the decades that followed, Pfahler continued to experiment with the constraints and boundaries of painting and today, his work remains more relevant and perhaps, even more cutting-edge than much of the contemporary art being shown and hyped.

Sophie Neuendorf: 2021 has been quite a tumultuous year for most galleries. How do you feel about the changes we have experienced within the art business?
Simon Lee: The pandemic has given rise to some fundamental shifts in the way art is mediated and bought. Online sales have greatly expanded the reach of the art market and we have seen a corresponding shift in taste and commercial success.

Sophie Neuendorf: Recent reports suggest that Asia is a force to be reckoned with in terms of creativity and sales, even post-pandemic. What insights can you reveal from your years of experience in Hong Kong?
Simon Lee: Asia has seen tremendous developments across many industries over recent years and I think that the overall growth in the economy, alongside technological advancements and adaptation has contributed to the flourishing creativity seen in the art world. There has been a huge increase in young collectors and the interest in art of this young and active group of people has risen exponentially as their taste becomes increasingly sophisticated and international. The pandemic inevitably provided people with more time on the internet and social media platforms to discover new artists and experience art in a different way.

Sophie Neuendorf: You’re opening a show of German artist Georg Karl Pfahler in Hong Kong this month. What motivated you to choose a hard-edge painter for Asian collectors?
Simon Lee: It’s very exciting to be presenting Pfahler’s work for the first time in Asia and to introduce him as part of the gallery programme with his inaugural exhibition in the Hong Kong space. The language of abstraction and colour in Pfahler’s work is of historical importance but it also feels very contemporary and is something that Asian collectors engage with well. Pfahler is a very well-known artist in Germany but hasn’t had much exposure in other parts of the world so it’s a privilege to give the opportunity for an Asian audience to discover his work.

Read more: Shiny Surfaces, Lawsuits & Pink Inflatable Rabbits – In Conversation with Jeff Koons

Sophie Neuendorf: Pfahler was, and continues to be, an inspiration for many artists as a pioneering hard-edge painter. When was the first time you experienced one of his works and how does it feel to represent the estate?
Simon Lee: Pfahler’s work has had a lingering presence in my career dating back to the 80s and 90s, when I spent a lot of time in Germany and first discovered his work. Over the years I saw his works pass through auction houses and when the opportunity came along to view his work again, I found them very compelling and relative to the gallery programme. It’s a pleasure to be working with the estate and I’ve been particularly impressed with how organised they are. There are fascinating archival materials and historical documents, which we are excited to share with a wider audience across our platforms and publications.

Sophie Neuendorf: Are you planning a London show of Pfahler as well?
Simon Lee: Yes, we look forward to presenting a more comprehensive survey show next Spring in the London space.

Sophie Neuendorf: If you could juxtapose Pfahler with any two other artists who would you choose?
Simon Lee: Looking at our programme, I would say Angela Bulloch and Sarah Crowner. Pfahler, Bulloch, and Crowner’s practices all present similar investigations into colour, shape and space. There are spatial and architectural elements in all their works. Crowner embraces the idea of painting as object and her works embody the experience of architecture and space both within themselves and their display, especially her tile works that echo Pfahler’s experiments with environments and art, and which embrace the spectator. Bulloch’s work also engages with architecture, colour, and mathematics, her stylised geometry recourse some aspects of Pfahler’s hard-edge sensibility.

Sophie Neuendorf: Richter, Uecker, Mack, Pfahler… Germany is known for producing a plethora of important and popular artists. How do you feel the German market will develop over the near future?
Simon Lee: The German market is constantly evolving. It’s a large nation with many talented artists and many young artists that are gaining a lot of attention. There’s a great tradition of German modern and contemporary art which has transcended national boundaries so I’m sure the market will reflect this. The art market has become truly global, reinforced by digital communication but there are certainly many talented German artists playing a role at the forefront of this market.

Read more: Maryam Eisler’s Spectacular New Photography Exhibition Opens At Linley In London

Sophie Neuendorf: NFTs are all the rage right now. Will you enter the market?
Simon Lee: We’re certainly exploring the opportunities that exist in this sector and market. There seems to be a growing recognition of the fact that NFTs will be a feature of an emerging mainstream market.

Sophie Neuendorf: How do you choose the artists you represent? Is it a gut feeling or more analytical?
Simon Lee: It’s neither one nor the other but a combination of many factors that play a role in selecting our artists. Certain people carry more weight than others with their recommendations but, it’s most important to consider the overall gallery programme and the connection to our other artists. I look at both our established artists and emerging artists to see how their practices and works link together. It’s interesting to me to observe this in artists that are at different points of their career.

Sophie Neuendorf: If you could have dinner with any 3 artists, living or dead, who would you choose and why?
Simon Lee: I’ve dined with many great living artists and sadly some dead ones as well, but of those who I’ve never met and are no longer with us, I would say Leonardo, Michelangelo, and Titian as I love Italian food. Other scenarios would have to include Rothko, de Kooning, and Pollock or Cézanne, Monet, and Kandinsky.

“Georg Karl Pfahler” runs until 8 January 2022 at Simon Lee Hong Kong.

Sophie Neuendorf is Vice President at artnet. Find out more: artnet.com

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.

Follow LUX on Instagram: luxthemagazine

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]

FLOCK (shown here in the deTour 2020 virtual space) is an interactive artwork by Whatever Inc. and one of Shin Wong’s favourites from this year’s festival

Born in Taipei and raised in New Zealand, Shin Wong is a global creative influencer and this year’s curator-at-large of Hong Kong’s art and design festival deTour. Ahead of the festival’s virtual launch on Friday, LUX speaks to Wong about her favourite work at this year’s edition, the value of digital platforms and her love of French decadence

Shin Wong

1. This is the first year that deTour is taking place online. Whilst this is clearly driven by the pandemic, do you think this format can offer added value to arts festivals and fairs in general?

Definitely! The mission of deTour is to introduce design talents from Hong Kong to the rest of the world and vice versa. It is also a perfect platform to showcase new innovative designs from overseas to the greater China region audiences. Through virtual connection, I believe we can bring like-minded people together, explore ideas and job opportunities, and moreover, celebrate the joy of creativity wherever you are.

Follow LUX on Instagram: luxthemagazine

2. Can you tell us more about this year’s festival theme and your role in the curation process?

The theme this year is the “Matter of Life”. With all what’s happening around the world and the big social movement in the city last year, this is probably the most important and relevant topic we could reflect on. The pandemic gave us extra time to rethink what designers can bring to society today.

I am the curator-at-large of deTour and my job is to overlook the creatives and all the programmes from a holistic point of view. I’m kind of like a chef who is garnishing the menu, adding extra flavours and spice, except that my job involves inviting and commissioning awesome, best-fit designers and providing different perspectives for the team, curators and artists to think about.

The Book of Ashes by Cheung Hon Him at dePont 2020

3. What are the benefits of bringing art and design together in one exhibition?

I think it’s impossible to separate art and design! It is our job to find balance in how we showcase novelty designs and expressive art in a big-scale festival. The curation itself is a piece of art.

Read more:  ‘I’m sick and tired of self-obsessed art’ says visual artist Afshin Naghouni

4. What design trends do you predict we’ll be seeing more of in 2021 and beyond?

Personally, I would like to see more work on sustainable designs. We’ve already caused enough damage to our world and we are all responsible to make it better.

God Catcher by Riyo & Obie at dePont 2020

5. Do you have a favourite era of art and design from history?

The French Neoclassical Period (Louis XVI era) where everything was over-the-top lavish, pure decadence. One can never get bored looking at the art and design from that era.

6. If you had to select one piece from this year’s festival, what would it be and why?

“FLOCK” – a simple and beautiful digital interactive work, celebrating life, love and joy. Exactly what we need! I am also a fan of Masashi Kawamura‘s work, and so we are super excited to have Whatever Inc. at deTour this year.

deTour 2020 takes place virtually from 27 November to 6 December. For more information visit: detour.hk

The reception area at The Fullerton Bay Hotel Singapore

In the first of our four part luxury travel views column, our editor-in-chief Darius Sanai recalls the breathtaking views and chic ambience of The Fullerton Bay hotel in Singapore

A first-time visitor to Singapore before would be forgiven for being rather surprised arriving at the rooftop swimming pool at The Fullerton Bay hotel. The city state has a reputation for being efficient but unexciting – a business city for the wealthy, not a tourist destination.

Walk out of the lift on the top floor of the hotel, and you realise that reputation is outdated. In front of you is a huge outdoor pool with sunloungers both beside it and along both sides, inside it – meaning you can have both a wet bar and a wet sunbathe. Or moonbathe, in my case, as I had just arrived on a long-haul flight in the evening. Beyond the pool was a bright and throbbing outdoor bar area, the front row of which looks directly across the water of Marina Bay at the celebrated skyline of the Sands landmark on the other side, beyond which is the ocean and, in the distance, the islands of Indonesia.

Follow LUX on Instagram: luxthemagazine

It may seem ‘normal’ if you are a resident of Singapore but coming from the western hemisphere this tropical city skyline-bar-swimming pool combination is literally breathtaking. A quick swim, then down to my room to get changed ahead of a couple of drinks in the bar, refreshing the palate before a long day of meetings the next day.

The rooftop Lantern bar at The Fullerton Bay Hotel, Singapore

While I was swimming, my room had been transformed. Normally, the ground floor is no place for a suite in a luxury hotel, but at The Fullerton Bay, the ground floor is located directly on the water. No road, no path, nothing in the way – the screens in my room had been folded back by the turndown service so I had a 180-degree view of the harbour, and when I stepped out onto the balcony and into my own personal swimming pool, I could also have taken a couple of steps more and jumped into the sea.

Read more: Activist José Soares dos Santos on environmental responsibility

If I’d been on my own, I would’ve stayed right there on the balcony, ordered some champagne, and chilled in the equatorial moonlight.

Up on the roof, by 10pm, the bar was turning more into a nightclub, with people dancing in an area cleared of tables. I sat at a table on the corner of the bar terrace, a 360-degree view of Singapore city centre all around. A pretty exhilarating introduction into the city.

The living room of its Robinson Suite

In a time when eating outside is advisable as well as enjoyable, The Fullerton Bay has no shortage of options, as I discovered at my outdoor breakfast the next day. It is served à la carte, with tables well spaced, and a choice of Malaysian/Indonesian (nasi goreng), Chinese, and western, it would have been perfect on a luxurious break. On a business trip, though, I recommend you don’t make the same mistake as I did and go down in a crisp white Margiela business shirt to wear at your meetings – 8am, Singapore weather is hot enough to turn you into a sweat ball, meaning a rapid return to the room to change.

The hotel’s rooftop jacuzzi

Fullerton is a legendary name in the Asian luxury industry, owned by the redoubtable and charming Ng family (who are also active in Hong Kong) and the more famous hotel and original of the same name is located 100m along the waterfront. The Fullerton, a local institution, is the colonial-era palace but is not priced at the same high-level as its more exclusive sister hotel. It is where you have to go for spa treatments, and I arranged one for just before my flight home. It was a mixture of Chinese pressure-point massage, ginger, rosemary and lavender oil, and stretching and soothing that was the perfect end to the Singapore stay-over. Over the years, I have changed my pre-long-haul flight routine flying back from Asia from champagne and sushi to a swim and a spa treatment, which is definitely more effective if you want to feel fresh on landing the next day.

Find out more: fullertonhotels.com

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

The K11 MUSEA features a roof garden where clients can grow their own herbs and vegetables

Adrian Cheng has high hopes for the new K11 MUSEA in Hong Kong: to change the way retail, art and culture collide, says Darius Sanai

Entrepreneur Adrian Cheng

When billionaire Hong Kong entrepreneur Adrian Cheng opened his K11 MUSEA development on Hong Kong’s Victoria Dockside late last year, he heralded it as “The Silicon Valley of culture”. It was a concept that some found hard to get their heads around, but a visit to the development is enlightening and points to ways K11’s innovations could have influence across the world in future.

Follow LUX on Instagram: luxthemagazine

At the heart of K11 MUSEA is a funkily designed luxury and fashion retail mall, housing the usual roster of names found elsewhere in China, from Alexander McQueen to Supreme. It’s the architecture and design, headed by New York-based James Corner, and the depth of concept in the detail, that is so innovative. K11’s roof is a kind of kitchen garden-cum-safari park, with spaces where clients can grow their own herbs and vegetables, a natural butterfly park (open for visits by any passing butterfly), a giant aquarium mimicking Victoria Harbour directly below, and rangers working to show local school groups the rooftop flora and fauna Inside, alongside the living walls and slides connecting different floors, is a constantly rotating roster of curated public art, chosen by Cheng (a significant collector) and his team. An e-sports zone allows you to indulge in the sports of your choice, there are public art and performance spaces, and nattily attired concierges sit at desks made of recovered logs.

The interiors of the luxury and fashion retail mall

Cheng’s aim in the development, which sits on prime waterfront land in Kowloon directly facing Central Hong Kong across the water of Victoria Harbour, is to bring retail, culture and technology together. Cheng is himself a complex and multifaceted entrepreneur: third generation heir to a multi-billion-dollar property and services empire, he is reinventing the family company, which also includes
brands like Rosewood Hotels and Resorts, for the future. He has as many friends in art and fashion as he does in the traditional family industry, and you feel Cheng is never happier than when reinventing something – and yet he has also invested time and money into a foundation to restore traditional Chinese crafts, and is something of a craftsman himself – it is his own hand that forms the calligraphic decorations around K11 MUSEA.

Read more: Plaza Premium Group’s Founder Song Hoi-see on airport luxury

The development has innovative platforms being planned using AI and facial recognition, as well as tie-ins with AI retail companies Cheng’s group has invested in, across the water in Shenzhen’s technology zone and across the globe: these are the spaces developers and retailers around the world will be watching.

The Kube kiosk designed by Rem Koolhaas’ studio OMA

As Cheng tells LUX: “When you purchase or sign up for something at K11 MUSEA, our loyalty programme allows us to understand your preference, basically what excites you the most. With enough samples, we can sufficiently draw correlations that will shape how we curate our brick-and-mortar spaces in the future. This is the advantage of running vast spaces like K11 MUSEA because it offers flexibility and a lot of possible curations. It’s about growing with our customers, predicting their needs and also working with brands and partners to create an inspiring customer journey. In fact, one of the companies I invested in, Moda Operandi, which we brought into K11 MUSEA, has a similar model. Online preferences will shape the store display, styling services and the various events that they host. Both K11 and Moda believe in creating a journey of wonder, for customers to learn and discover.”

There is also, importantly for Hong Kong’s current climate and from a scion of one of its most important families, a significant public/ community aspect to K11 MUSEA and the surrounding Victoria Dockside area which Cheng and his family company, New World Developments, has revitalised.

K11 MUSEA may be ground-breaking, but it’s unlikely to be the last creation of its kind from the peripatetic multi-business, multicultural Hong Kong dynamo.

‘Musea: A Book of Modern Muses’, published by Condé Nast, is available at boutiquemags.com

For more information visit: K11musea.com

This article was originally published in the Spring 2020 Issue.

Plaza Premium Group’s newest concept provides a “first-class” experience with fine dining and spa facilities. Pictured here: the relaxation area at Plaza Premium First Hong Kong

Headquartered in Hong Kong, Plaza Premium Group is one of the world’s leading premium airport services companies. The group provides luxury airport lounges, transit hotels, meet & greet services and dining in over 42 international airports with plans for expansion throughout 2020. Here, LUX Editor-in-Chief Darius Sanai speaks with the group’s Founder & CEO Song Hoi-see about the rise of wellness tourism, the group’s new “first-class” concept and the airport of the future

Plaza Premium Group’s Founder & CEO Song Hoi-see

LUX: Can you tell us a bit about what inspired you to found plaza premium lounges?
Song Hoi-see: Before I started Plaza Premium Group, I used to work in the investment banking industry and enjoyed the privileges that came with flying in business class. Upon leaving the sector I went back to flying economy class without having access to the benefits of airport lounges. It made work on the go a lot more difficult and the airport journey became much less comfortable, I felt that the travel experience was somehow incomplete. I wanted to create something for the majority rather than only the 15% passengers taking business and first-class benefiting from such services. I therefore decided to disrupt the status quo by creating this new idea of an independent, pay-per-use airport lounge concept – Plaza Premium Lounge – in 1998 for all travellers regardless of airlines or class of travel.

Follow LUX on Instagram: luxthemagazine

LUX: Have you seen a change in the airport services industry since having opened the first
independent airport lounge over 20 years ago?
Song Hoi-see: Definitely! When we first started Plaza Premium Lounge – our idea was to create an airport lounge for all travellers to enjoy a meal, facilities to conduct businesses and a relaxation area for guests to wait for their next flight. In the next few years, we observed travellers were looking for more especially during long-haul travels. We started to add shower facilities and lounge bay where our guests could freshen up before boarding. In addition to departure, we also take care of arrival passengers’ pain points – those arriving early in morning like Hong Kong travellers landing Heathrow at 5 or 6 a.m., what they want most is a hot shower and we developed the concept of an arrival lounge. Imagine there are over 25 fights landing Heathrow T3 before 9a.m. every day and now they are able to freshen up prior to heading to town or going to a business meeting.

Plaza Premium lounge in Dubai airport

Interior designs are also evolving. Comfortable seating, soothing lighting, warm colours to facilitate relaxation and rest are fundamental. We take a step further and look into how design elements and features impacts on customer experience. We started to infuse local cultural and destination elements. In our Brazil lounge, we invited local graffiti artist and created an art wall featuring vibrant colours. One of our Taiwan lounges showcases a hand-crafted Taipei city skyline. Plaza Premium Lounge in Siem Reap incorporates a temple triangular-shaped ceiling and black and white photography of local attractions and one of our latest openings in Cebu domestic arrivals uses locally sourced wood as part of the design materials.

Today, everyone is a traveller and they travel for different purposes – business, leisure and bleisure. Some travel alone and some are in group or with families. Services desired are very different and we must continuously evolve to meet their needs. This year, we launched Playroom in our Helsinki lounge – a dedicated kids zone featuring educational toys that are also sustainably made. In our existing locations, we also added kids’ friendly services – kids menu and cutlery, high chairs for babies and colouring sets, etc. Agoda did a research last year on family travel and it shown 7 out of 10 families globally take at least two family vacations a year and in UK, there are 7% of families going away five or more times per year. We want to ensure our family guests can take care of their little ones in our lounge while parents are able to enjoy our facilities and services.

Airport lounge is getting popular among travellers however, there is a group of elite travellers that desire a more elevated and personalised experience and beginning of Plaza Premium First launched in 2018.

A guest room at Aerotel London Heathrow

Travellers often need to find a space to sleep without leaving the airport when their connecting flights are just a few hours later. We disrupted the industry again with the creation of Aerotel in 2016 – it is a simple but very efficient concept. We create guest-rooms with quality beds and pillows, hot showers and convenient set-up to facilitate guests to sleep or nap at the terminal building. It is the world’s first in-terminal airport hotel concept. Nowadays, we have already evolved the brand to include both airside and landside locations to suit different travellers’ demands. Our latest opening was Aerotel London Heathrow in October is at Terminal 3 Arrivals.

Airports can also be a challenging journey for older travellers or when travelling with big groups, and our meet-and-greet service is the perfect solution. We started to speak with airport partners and introduced Allways services to offer buggy, luggage handling, fast-track security, lounge stays, gate-to-gate escort, etc.

Read more: Fine dining on the ski slopes of Andermatt, Switzerland

LUX: How have you responded to the demand on consumer experience?
Song Hoi-see: Plaza Premium Group and our brands were born out of the idea of launching something that would elevate the airport experience for travellers and ultimately making travel better.

For example, brand partnership is an important element we introduced to the Plaza Premium First concept. Early this year, we worked with Poly Art to curate an inspiring art collection at the Hong Kong location with the purpose of transforming an airport lounge into art gallery – we wanted to create a space for our guests to not only anticipate their next journeys ahead, but also have an inner dialogue on what travel means to them. Currently, Aerotel London Heathrow is showcasing aerial photography from London-based travel photographer Tommy Clarke. We admired his visions of taking striking photography around the world to illustrate natures in a new perspective. Also something intriguing for our guests to appreciate while they are staying with us.

Wellness is also a trend we have been observing and listening to. Global Wellness Institute is predicting that the wellness tourism sector will reach close to US$1 trillion on a global level by 2020. Airport as a starting point of a journey, we brought in healthy food options such as Beyond Meat Burger at Plaza Premium First Hong Kong. In addition, we also launched Root98, a herbs-and-seeds inspired concept as part of our Airport Dining portfolio.

LUX: How has the rise in technology changed the way people travel and utilise lounges?
Song Hoi-see: Technology is making the airport journey more efficient, whether this be through facial and fingerprint recognition, electronic payments, chatbots, and online or mobileApp applications, next-generation technologies are changing the ways we travel. That’s also exactly the reason why travellers are expecting more from the airports. They look at airports as destinations in their own right filled with shopping, restaurants and a whole host of activities like yoga and even ice-skating.

The emergence of digitalisation also drives us to rethink our businesses. While we create a friendly online environment to see and book our services, we must not forget this is people business. Our guests expect personal touch when they experience our services and maintaining a high level of service standard does not come easy. Therefore, we invest more than 130,000 hours every year on training to ensure we are the best all the times.

LUX: Can you tell us a bit about your newest concept, Plaza Premium First?
Song Hoi-see: This is a “first-class” airport lounge concept that we have made available to all travellers. We recognised the needs from affluent and discerning travellers who appreciate personalised services such as a la carte dining, a bar that serves largest collection of Scotch whiskey and high-quality artisanal coffee, etc. As mentioned earlier, brand partnership is key to this concept and we have worked with tea brand TWG to create specialty tea mocktails and cocktails, Italian coffee brand Lavazza, internationally-known beverage company Pernod Ricard and more will follow! Most importantly, our team are all Lounge Ambassadors who will provide a guided tour to first-time guest so they can familiarise the services and facilities to enjoy the fullest.

Currently we operate Plaza Premium First in Hong Kong and Kuala Lumpur, soon it’ll open in Jakarta later in 2020.

The bar at Plaza Premium First in Hong Kong

LUX: Plaza Premium First has some interesting partners such as Elemis Spa. Can you tell us
how you go about choosing who to partner with?
Song Hoi-see: Apart from the experiences and products we look for from a partner, we want to ensure both parties share the same vision and mission. Plaza Premium Group is always aim at making travel better through outstanding services rendered by a dedicated and passionate team and taking an innovative approach. We want to work with partners to ensure these values are safeguarded and bring in experiences to surprise and delight our guests.

Read more: Francis Alÿs receives Whitechapel Gallery’s Art Icon Prize 2020

LUX: Do you have any more inspiring ideas in the pipeline?
Song Hoi-see: We have an ambitious development plan to open in 15 new locations by the end of 2020 alone. As part of this, we will launch Aerotel Sydney – the first in-terminal airport hotel in Australia, in the third quarter of 2020. A nearly 3,000-square-metre lounge space combining Plaza Premium First, Plaza Premium Lounge and Allways will be built in Jakarta Soekarno-Hatta International Airport to fully open in the 1st half of 2020. In our home base Hong Kong and the birthplace of Plaza Premium Lounge, we will launch two new locations with uplifted experiences incorporating specialty offers to suit modern travellers’ needs. (Our team will share the press release as soon as it’s ready with more details!)

LUX: What are your visions for the next 5 years of travel and airport hospitality?
Song Hoi-see: The airport of the future will be shaped by changing technology. Robots will be in line to help passengers in airports, AI-powered products such as chatbots and virtual assistants will be used to further revolutionise customer service and optimise efficiency, and technological advancements will help bring about a much-needed change in the way airports assist travellers with additional needs.

I want to highlight that these are all hardware and we cannot forget the most important element in the airport hospitality services – people. Therefore, we see people as our most valuable asset. Our passionate global teams communicate regularly to share best practices, while we empower local teams to execute in order to ensure it’s culturally sensitive so local audiences feel at home and oversea guests get a sense of place while experiencing our services.

LUX: Do sustainability and environmental factors play into what you project for the future of
travel?
Song Hoi-see: Absolutely, sustainability is one of our core goals. We are constantly looking into it and we have already started by taking small steps. For instance, we started to introduce water taps in our Langkawi lounge so travellers can fill up their water bottles and have installed big refillable bottles for shampoo and shower gel at Aerotel instead of one-time plastic bottles. In our Playrooms, we have educational toys that have been made using sustainable materials. It’s still baby steps but we are working towards this goal. At one of our Plaza Premium Lounge new openings in Hong Kong, we will incorporate plants and greens to our interior design, creating a greenery hideaway at a busy airport.

In addition to being eco-friendly, we must ensure our businesses are sustainable and growing with a friendly working environment for our global teams to work in.

LUX: Where do you see the next Plaza Premium lounge being located?
Song Hoi-see: Many locations! Plaza Premium Lounge has recently opened at Dubai International Airport. By 2020, we will open Plaza Premium Lounge across six other international airports including Dallas Fort Worth International Airport and Denver International Airport in US, Jakarta Soekarno-Hatta International Airport in Indonesia,  Sydney Airport in Australia, Toronto Pearson International Airport in Canada, and Hong Kong International Airport.

Discover Plaza Premium Group’s lounges: plazapremiumgroup.com

The comfort of the club suites has been improved by the recent introduction of bed linen by the White Company. Image by Nick Morrish/British Airways

British Airways has had a hard time from business travellers, some of it justified. But LUX Editor-in-Chief Darius Sanai rediscovered his fondness for the airline on a recent long-haul trip

In the world of the affluent intercontinental business traveller, there are various unwritten rules. One regards jet lag affecting your schedule: it doesn’t. (We recently found an HR manual from the early 2000s which specified a full rest and recovery day for employees on landing after any long-haul flight, which seems as antiquated as exchanging telegrams now.) 14 hour flight, straight into meetings whatever time zone your head is on, followed by dinner and an all nighter as you catch up with everyone in your original timezone. The next morning, kick off at 7 and work through until, and on, whatever flight comes next.

Follow LUX on Instagram: luxthemagazine

Another rule regards local customs and language. For a while, pre-globalisation and social media, it was considered polite to learn a little about the country you are doing business in, and perhaps a few key phrases of language. Now, when any four year old can have instagram friends in Bolivia and Vietnam, local customs are for kids. As for language, speak English and just ask Siri. (An important exception to this appears to be China, which is gearing up for the reverse, its own global cultural expansion).

BA’s Club World has previously received criticism for its seat layout, but the new flatbed units are more private than in other airlines, says Darius Sanai

Both of these rules seems to have seeped into general business culture from the all-work-no-play USA, and specifically from companies like McKinsey and Bain, where a staff member who sleeps at all is an unproductive staff member with spare capacity.

And finally, if you come from or have anything to do with the UK, there’s the British Airways bashing. It seems to be de rigueur to use one fo the following stock phrases: “I had to fly BA, everything else was full,” “I actually prefer the service in (fill in airline) economy class to BA Club” or “(Fill in airline) business class is way better than even BA First”.

Well, after a period of flying long-haul business class on a number of other, acclaimed, airlines, LUX returned to the BA fold for a recent flight from London to Hong Kong and back from Singapore, and whisper it, but we beg to differ. (We should also state here that we paid full fare for all our flights, including the BA ones, and that LUX has, despite our top-tier Gold frequent flyer status, not taken any flights comped or subsidised by BA, or any favours at all from the airline, over the past five years).

Read more: Parisian tailoring house Cifonelli sets up shop in Mayfair

For starters, there is the pre-flight routine. Take any other airline out of London, and you have to either go through the normal security scrum or, in a handful of cases, get chauffeured to a dedicated check in. Given the traffic in London and around Heathrow and concomitant stress about arrival time, we would take our BA option any day: a 20 minute, tranquil Heathrow Express (always upgrade to Business First class), followed by dedicated security at the BA Wing of Terminal Five, which sees you walk from train station to lounge in three minutes (record) and six minutes (average), without having to deal with the main security melee or the crowds of shoppers on the other side. The First lounge itself is spacious and comfortable with open views and the wines and food are good (though not exceptional) – although the cleanliness (simple table wiping, hello??) still needs attention.

British Airways’ Concorde Room at Terminal 5, London Heathrow. Image by Nick Morrish/British Airways

Then, on the plane. BA’s Club World has received some flak over the years for its seat layout, where passengers in their seat-bed pods sit awkwardly facing each other in opposite directions at takeoff and landing, and where passengers in one row need to step over the feet of sleeping passengers in the next to access the aisle. I think this is partly justified, and have been known to deliver a hefty kick to one fellow passenger who kept waking me up by repeatedly whacking into my feet as he stepped over me to access the aisle (seriously, if you’re under 70 and can’t step over an obstacle 50cm high, you need to do something about your fitness).

The flip side is that the flatbed units are actually less exposed to the aisles than in other airlines, and that your head and upper body lie very cosily in the unit when you are asleep.

A big improvement was the recent introduction of bed linen by The White Company; I had thought this would be a superficial gesture, but the soft bottom mattress protector, smooth duvet and puffy pillow are superior to the offerings on any other airline I have flown. Meanwhile, all-new Club World suites are being rolled out shortly, promising a step change (excuse the pun) in quality.

Read more: Jetcraft’s owner & chairman Jahid Fazal-Karim on global trading

BA also seems to have made an effort to address an old gripe from long haul travellers, the service. This isn’t yet at the levels of the top Asian airlines, but staff have made a step change in service, willingness, and helpfulness, and, call me American, but it’s rather nice dealing with people who speak English as a native language and who have the same cultural references – a call for a late night KitKat brought the requisite chocolate bar, not a cuddly toy.

The accoutrements of the flights are also excellent: tablecloths, proper cutlery, nicely printed menus, a good choice of food and a cute snack bar with an array of fruit and snacks. The wines are still not up to the celebrated standards they were before the previous round of cost-cutting, but at least they are not getting any worse and contacts at the airline say there are plans to reinvest in them. (Tip: always drink the champagne. Although BA Club World no longer serves prestige Cuvée champagnes as standard, they are always good and you are drinking a much more expensive product than the wines, which typically cost a third of the price per bottle, or less, of the champagnes. This applies to almost all airlines.).

Club Class onboard dining choices are excellent, but the wine is still not up to previous BA standards

And while the BA Arrivals Lounge at Heathrow may not have the quality of bathroom as the American Airlines one, it serves a killer English breakfast with particularly superb mushrooms, in a tranquil post-flight atmosphere, and also has free massages available in its Elemis spa.

After my latest round trip, I asked myself if I would insist to my travel bookers on trying another long-haul airline first next time; and my conclusion was that I would ask them to try BA first of all, for a combination of the reasons above. As long as the airline doesn’t let things slip again as it did when current CEO Alex Cruz first took over (note to Alex: reinvest in the wines. People care and it’s important for your brand). And now comes the hard part: getting the long-haul business travel warrior community to talk about flying BA as a boast, not an excuse. You heard it first here.

For more information visit: BA.com

M+ will transform the West Kowloon skyline

LUX Contributing Editor and Hong Kong art and design doyen Alan Lo in conversation with Suhanya Raffel, the director of M+ – a museum set to change the conversation about Asia’s place in the art world

It may just be the most important contemporary cultural development in the world. Hong Kong’s M+ museum of visual culture is, finally, scheduled to open in early 2021 after years of anticipation (and a few delays). The Herzog & De Meuron-designed building will not just be a stunning addition to the skyline, it will be the cornerstone of the new West Kowloon Cultural District – an area which, along with Adrian Cheng’s K11 development in Victoria Dockside, will transform Hong Kong. The city has always been known for its commerce and cuisine, but with M+ – the most sophisticated and extensive showcase of its type in the world – it is set to make the leap towards becoming a major player culturally, too.

The figures are staggering: M+ has nearly twice the floor area of London’s gargantuan Tate Modern. It has already purchased all the existing and future work of funky digital collective Young Hae Chang Heavy Industries. Expect plenty more fireworks to come.

Follow LUX on Instagram: luxthemagazine

Alan Lo: You joined M+ from the Art Gallery of New South Wales in 2016. Why Hong Kong at this juncture in your career? What do you hope to achieve as executive director?
Suhanya Raffel: The M+ project has always been on my radar. I’ve been visiting Hong Kong since the early 1990s and was keenly aware of the major cultural infrastructure programme on West Kowloon when it was being formulated. To deliver M+ as the museum director is an opportunity I couldn’t resist. Bringing a major cultural institution into Asia and seeing how it will transform Hong Kong is a key achievement. M+ will be the place to come and see Asian visual culture, as we naturally take a preeminent place among international museums.

Alan Lo: All eyes are on what will be the most important art institution in Asia. What can we expect at the opening?
Suhanya Raffel: We have spent the past six years assembling an outstanding collection of visual culture from the mid-20th century onwards. It is unique in scope and brings a necessary perspective to the understanding of design, architecture, visual art and moving image as it has developed in this part of the world. Our opening will be dedicated to profiling our collections and I know that it will bring entirely new points of view on the various histories of our region.

LUX Contributing Editor Alan Lo and M+ director Suhanya Raffel

Alan Lo: Critics have pointed to the M+ curatorial team’s lack of local/Hong Kong knowledge. What do you have to stay to that?
Suhanya Raffel: At M+ we embrace diversity, which is an important characteristic of Hong Kong, a global city with a proud history of being cosmopolitan and outward-looking. We have specialist curators of Hong Kong visual culture who have a deep knowledge of the work of artists, architects, designers and filmmakers from here. Our curators work together across disciplines and that brings a strength of vision and voice, both to the Hong Kong cultural community and beyond. We must add to the Hong Kong cultural ecology, embracing the strengths and contributions of Hong Kong makers and showing them together with their international peers. What has been missing here in Hong Kong is a major global institution developed from its local positioning, and this has now been redressed with the development of M+.

Alan Lo: How do you see the Hong Kong/Greater Bay Area art ecosystem evolving?
Suhanya Raffel: Hong Kong will grow even further as a major international centre for the arts. We have seen this growth already, and it will only amplify as collecting institutions, both public and private, establish themselves, with global best practice as a governing principle.

Read more: Designer Philipp Plein on mixing business with pleasure

Alan Lo: M+ will rely on support from art patrons locally and globally. Are you seeing healthy growth in art patronage in the region?
Suhanya Raffel: Yes, absolutely I can see a healthy growth of art patronage. The relationship between patrons, collectors, philanthropists, members and foundations in relation to M+ is already developing from strength to strength. It is only together with our various audiences and communities that a museum of M+’s scale can begin to be successful. When we open, it will be just the beginning of our museum’s journey, and ensuring our various stakeholders understand this is clearly one of the challenges.

Alan Lo: M+ began to co-commission the Hong Kong exhibition at Venice Biennale in 2013, which resulted in Hong Kong-based artists seeing a surge in prominence. Why do you think it’s important for M+ to play a role?
Suhanya Raffel: As a global museum, we see profiling Hong Kong artists, designers, architects and makers as an intrinsic part of our work. In this regard, M+ co-commissioning the Hong Kong in Venice Pavilion at the Venice Biennale has brought greater prominence to these artists, and by association, the Hong Kong art world.

The vast interior of M+ will have twice the floor area of London’s Tate Modern

Alan Lo: Many private museums have popped up in Asia. Would you like to see more private museum projects in Hong Kong?
Suhanya Raffel: A healthy mixture of private and public institutions is something to encourage. Hong Kong’s aspiration to become a cultural capital means we need to see more institutions of various scales across the private and public sphere take hold and grow. We are already seeing this take root, ensuring Hong Kong’s place as a great global cultural city.

Alan Lo: M+ is a major project focusing on contemporary visual culture. What about the audience in our region? Are the people of HK and southern China ready for M+?
Suhanya Raffel: Without question, the audiences are here. It is a young audience with a strong appetite for contemporary culture.

Read more: How wealthy philanthropists are supporting conservation

Alan Lo: Do you think the shift in the global art market toward the top end is helping or hurting the ecosystem? How are museums changing to reflect the increasing concentration of art in private hands?
Suhanya Raffel: Public institutions cannot compete with the private market. That is why philanthropy is an important part of museum work. As we develop M+, to communicate our mission with passion and clarity is essential, and this helps us to develop our audiences. In Asia, the art world ecology is still in its early days, and this brings with it both challenges and opportunities. The establishment of a great public institution that is M+ will bring a much clearer understanding of how a museum adds enormous value to conversations around cultural and regional histories, and how they intersect with and add to essential global dialogues.

Alan Lo: In 20 years’ time, will the world’s major art institutions be split more evenly between west and east? How do you intend to position M+ in the context of this potential shift?
Suhanya Raffel: The M+ vision of bringing an Asian museum voice of substance with a deep multidisciplinary collection to support this position will inevitably change international discourse. The known Euro/American canon will shift, and I hope, with the establishment of M+, many other institutions across Asia will follow. This is healthy, important and vital.

Alan Lo: The influence of collectors has changed so much with social media – how would you like to see them play a role in the future of M+?
Suhanya Raffel: The role of social media and digital is the one revolution that defines our century. It is the new media and medium of exchange, operating at speed. Museums are traditionally slow-release platforms, but we must build agility and responsiveness. Working together with those who are already alert to these streams is essential and at M+ we are already embracing this parallel world!

Find out more: mplus.org.hk

This article was originally published in the Autumn 19 Issue.

‘Moon Walk’ (1969), by Liu Kuo-sung

Navigating the deep waters of the Asian art scene could be treacherous, without a guide such as Calvin Hui. Jason Chung Tang Yen talks to the Hong Kong and London-based globetrotter, art connoisseur and entrepreneur about his mission to bring contemporary Chinese ink art to the global stage

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

“Ink is not just a medium; it embodies a cultural language,” says gallery owner and art fair entrepreneur Calvin Hui. He’s referring to contemporary Chinese ink art and the enterprise he founded, a booming art platform titled Ink Now, first launched in Taipei and generating considerable buzz among art lovers and collectors. However, Hui’s vision for Ink Now extends beyond any fixed formats; he has introduced a notion of “more than ink, and more than an art fair. We are bringing awareness of ink art’s essence and spirituality in a cultural context, beyond its pure medium form,” he says.

Follow LUX on Instagram: luxthemagazine

For more than 2,000 years, ink art, once made with burnt pine trees and organic matter on rice paper or silk, has been the primary – and most celebrated – form of artistic expression for Chinese calligraphers and painters. The traditional art form reached its peak in the Song Dynasty, from 960-1279AD; historical masterpieces from that era are still preserved in the palace museums in Beijing and Taipei and Qu Ding’s Summer Mountains has a permanent home at New York’s Metropolitan Museum of Art. Western artists, from the Impressionists to Pablo Picasso, have long been inspired by the ink art tradition, but in recent years, new media and influences from the West have made their own mark on the medium. Today’s artists often turn to or reinterpret traditional ink art techniques while in pursuit of a contemporary breakthrough, resulting in multi-layered works that are filled with cultural references and meaning. And some advocates for the medium, such as Calvin Hui, are hoping to lay the foundations for a new golden age of ink art.

‘Far Side of the Moon’ (2019), by Victor Wong.

Calvin Hui at Victor Wong’s solo exhibition ‘TECH-iNK Garden’

A network of contacts and the ability to plan on a grand scale are required to make this happen, but Hui has long operated in the nerve centre of the art market, bridging the gap between contemporary Eastern art and the market in the West. He is the cofounder of the 3812 Gallery, with an outpost in Central Hong Kong and St James’s in London, and his company also provides professional and private art consultancy services. His vision for the Ink Now venture is driven by his passion for Chinese artists who are producing works steeped in heritage, but who look towards the future.

One such artist is Hsiao Chin – a favourite of Hui’s and a master of abstract art in Asia – whose work captures the duality of Taoist philosophy and will be shown in a solo exhibition, PUNTO: Hsiao Chin’s International Art Movement Era at 3812 Gallery next year to coincide with the artist’s 85th birthday. “Hsiao Chin’s work perfectly interprets the ‘Eastern origin in contemporary expression’ principle advocated by Ink Now and 3812 Gallery,” Hui declares. “Though the artist always claims that his work is not Chinese ink, it is obvious to see that Hsiao applies Eastern philosophical thoughts such as Lao Zhuang in Western art.” These influences translate into abstract paintings that merge colourful brush painting with modernist compositions. The show will also include a variety of archival materials that will be shown for the first time outside of Asia.

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

And Hui, unsurprisingly, has big plans to take what was once a niche market mainstream. “The objective of having a brand and platform like Ink Now is to materialise the pursuit of art from a cultural perspective to a commercial one,” he enthuses. “Over the last century, particularly in the US and Europe, the shifting influence of culture exported from the East [has transformed] due to political power shifts.” With billions of people now familiar with ink’s cultural language, the discipline is poised to gain widespread popularity.

For Hui, the “Western perspective on Chinese contemporary art was, in a way, too repetitive and rigid while lacking historical and aesthetic context.” Jay Xu, director of the Asian Art Museum in San Francisco, agrees that although Chinese inks inspired and continue to inspire Western art, there is still much for us to learn. “Picasso himself once said that had he been born Chinese, he would have been a calligrapher, not a painter, and there was a tablet of Chinese calligraphy on Matisse’s wall. Whether or not Western artists understand the Chinese culture or fully understand the context of ink as a colour and ink as a linear expression, it has inspired many generations of artists both in the East and the West.”

The inaugural Ink Now art expo in Taipei earlier this year

Ink Now is designed to deliver a more nuanced study of the genre by creating a platform for academic discussions, online archives and collectors’ gatherings. Hui’s approach allows an international audience to access material and information in a “globalised community on one’s palm via smartphones,” as well as physically in the gallery spaces and exhibition venues. Ink Now is not merely an art fair; it is “trans-regional and multifaceted”, enabling “international dialogues in various cities”. And, as Hui revealed in our interview, the initiative will be coming to London, perhaps as early as 2020.

Hui knows that the words we use to talk about art are significant, and that the name ‘Ink Now’ underlines the platform’s forward- looking approach to cultural identity. The emerging and established artists promoted by Ink Now create work that is supremely relevant to the issues that preoccupy us in the present. ‘Tech Ink’ is another phrase coined by Hui to refer to our relationship to art in the online age. “Discovering, appreciating, collecting art all happens in the digital realm now. It is a new era; we are particularly fortunate to be part of making new history.”

‘Magical Landscape’, by Wang Jieyin

Liu Kuo-sung is a Chinese artist whose Modernist work is part of this new history. For Kuo-sung, “Ink has always been part of our culture’s DNA,” not just a media but, “really something much deeper. To me, ink is more spiritual.” He believes our era of digital connectivity will help to both influence the market and inspire ink artists. “With the evolution of technology, culture exchange and influence will be easier and faster. During my early career, information [was] scarce and I needed to either borrow a catalogue from a public source or physically go to a museum or gallery to see artworks. Today, you get so much information without needing to leave your house.”

Read more: Spanish artist Secundino Hernández on flesh & creative chaos

Museum director Jay Xu thinks the medium could even challenge the lens through which we view art history. “From the Renaissance, the scope and definition of art has been evolving, and though art has been regarded [in relation to] a Western canon, what ink could possibly do is to rethink the canon of art in general. It is a much more diverse world that we live in now. The global phenomenon must include artistic expressions of all cultures and regions, in which each have their own definition of what art is.”

The art form finds perhaps its most modern expression when machines are involved in its creation. “Digital art is definitely a trend, especially in the Western market,” Hui points out, citing Victor Wong’s artificial intelligence ink paintings, a collaboration between the artist and his AI assistant, Gemini. The robot that Wong programmed has created a fascinating, meticulous body of shuimo ink work, heading into uncharted artistic territory and prompting a wider discussion on AI artworks and the definition of art.

The relationship between traditional and contemporary inks is one duality that is explored in the art form; the tension between Western and Eastern influences is another. Jay Xu cites artist Xu Bing and his ability to “create scripts writing English alphabets in Chinese calligraphic strokes – an iconic mode of expression that is part of the ongoing evolution of calligraphy.” The museum’s 2012 exhibition, Out of Character: Decoding Chinese Calligraphy, featured works from the Jerry Yang collection, including animated calligraphy by Bing and “juxtaposing Western abstract expressionism with ink art to form a dialogue”.

Here: ‘L’inizio del Dao-2’ (1962); above: ‘L’Origine del Chi-3’ (1962), both by Hsiao Chin

As both a gallery owner and a collector, what does Hui think about mixing business with pleasure? “The inevitable marriage of art and investment is an agreeable phenomenon; however, the danger of treating art solely as an investment means to neglect its artistic value while focusing on the price. Art should always be about value, not the market price.” Value should be established first, and the market should follow. “As an art consultant, I take great precaution in investing in art. It is crucial to know the difference between cultural assets and financial products. The art market is much more complex, with different factors and less regulations and compliances than the financial sector.”

There is no doubt that the ink art market is growing: “The regional market in China itself is an important index on the one hand, but on the other, acceptance and exposure in locations such as London provide outlooks for the market trends.” As a gallery owner, Hui has a track record of successfully bringing works by celebrated regional artists onto a more international stage, and platforms like Ink Now often mark the beginning of a surge in the market; the growth of the contemporary African art scene in London and New York followed a similar trajectory. Ink Now’s strategy is to focus on ink art, “not just as a category, but rather as a set of mutual cultural linguistics that bridge various cultures and markets together.”

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

Calvin Hui and Ink Now’s mission has artist Liu Kuo-sung’s backing: “As an artist, we need to understand our mission in life is not only to create good art, but also to leave a mark or make a contribution to our culture and civilisation. Ink art has evolved so much in the past 50 years. Today, young ink artists are creating some amazing new forms of ink art, and I have also seen some great ink art works from Western artists as well.”

On the business of collecting, Hui is equally passionate: “Mankind is drawn to collect, it is in our nature. Owning art is owning experience, emotion, and a piece of the past, it should have a story of its own, to have an interaction with the collector. It is a highly individual and subjective act. One should always collect what one loves. Buying art should not always be about investment. It is about the purest form of passion. I only buy what speaks to me, something I can engage on a deeper level.”

And what was the first piece of art that Calvin Hui collected? A lithograph by Joan Miró, an artist who was fascinated by Eastern culture and who incorporated calligraphy and ink art into his oeuvre. In other words, the artwork that Hui first chose was not only a testament to his impeccable taste, but a glimpse into his future.

Find out more: ink-now.com/en

‘Moving Vision: Neither Dying or Being’, by Wang Huangsheng.

Calvin Hui’s six artists to know

Wang Jieyin
From the start of his career, Shanghai-based Wang Jieyin has been inspired by the cave paintings in Dunhuang. His contemporary take on ancient Chinese art results in artwork with a muted palette, a focus on natural shapes and romantic, abstracted depictions of landscapes.

Chloe Ho
Chloe Ho’s ink art references both her American and Hong Kong background with unexpected elements such as coffee and acrylic paint. Her exhibition, Unconfined Illumination, runs at 3812 Gallery in London until 15 November.

‘Volcano;, by Chloe Ho

Wang Huangsheng
Living and working in Beijing, Wang Huangsheng is a curator and professor whose minimalist contemporary ink drawings convey a range of moods, suggest landscapes and allude to calligraphy.

Victor Wong
Victor Wong’s debut in TECH-iNK is a breakthrough in combining technology with art, calling into question our definition of art and culture, while creating highly detailed, original ink depictions of surfaces, such as the moon.

‘Contraction and Extension of the Twilight’, by Liu Dan

Liu Dan
Liu Dan is known for the contemporary twist he applies to his organic, shaded landscapes, devoting himself to detailed studies of flowers and rocks using Chinese ink and brush techniques.

Hsu Yung Chin
Hsu Yung Chin’s practice incorporates both writing and painting, merging boundaries between the two forms of expression, and breaking all the traditions of calligraphy in order to create works that feel relevant to contemporary Chinese society.

This article was originally published in the Autumn 19 Issue.

‘Autumn’ (2019), Chloe Ho
.
Chinese ink and acrylic on cloth

Hong Kong-based artist Chloe Ho revives ancient techniques of Chinese ink painting with a contemporary perspective. Following the opening of her solo exhibition at 3812 Gallery London, we spoke to the artist about her creative environment, blending mediums and artistic dialogues

Artist Chloe Ho

1. Tell us about the concept for your current show Unconfined Illumination?

Unconfined Illumination really is reflective in many ways. The show speaks to my art that expresses deeper truths about ourselves, culture, nature and the human condition. It refers to my unencumbered expression that serves to both engage, entice and create a dialogue with the viewer. It also is a personal illumination of my inspirations, artistic influences and the id. It illuminates my connection both with East and West, ancient and contemporary. It celebrates the light of artistic freedom and observation.

Follow LUX on Instagram: luxthemagazine

2. What’s it like exhibiting to a London-based audience?

To me art is universal and inclusive, a sort of common language that transcends time and place. I create my art based on our place in the universe drawing on common connections, identities, experiences and the natural world. London viewers, like all true art lovers, have certainly been wonderfully receptive, engaged, communicative, knowledgable and insightful. I have greatly enjoyed exhibiting here.

3. Do you need a particular environment to create?

I primarily paint in Hong Kong where I have my studio. It’s the most wonderful space for me because it holds the shadows of work competed and promise of work to come. I have also painted in many places around the world from Beijing to California. I really believe the creative environment is an extension of the artist – the energy, the sensibility, the light, colours, chaos or order. Like a blank canvas, no matter where, it quickly fills with every aspect of the painting life and facilitates the art.

‘Lion Fish’, Chloe Ho. Chinese ink, coffee and acrylic ink on paper.

4. What made you decide to combine mediums such as ink and coffee?

To me, the combining of mediums better allows for unconfined expression. I am more able to create and express what I want to show in my images.

Of course, I always preserve the tradition of ink painting, but it is important to make my art a personal and contemporary expression of my aesthetic. For example, I chose coffee because it lent a certain modern energy and earthiness to my paintings, recalling in a modern way the elements of Shan Shui as in Lion Fish. While my ink flows, spray paint and acrylics gave me a more complex level of image such as In the Current. Even expression through technological manipulation of dimension from two dimensional paintings to sculptural pieces and VR are an interesting way to extend my images.

Read more: Richard Mille’s Alpine athletes Alexis Pinturault & Ester Ledecká

5. Some of your works seem to be directly responding to other artists, such as Tracey Emin and Pablo Picasso. Do you see your practice as a form of dialogue?

Yes, absolutely I think art is a dialogue between the viewers and the artist, the present and the past, the artist’s idea and reality. This is what makes art familiar yet new, inclusive, challenging, connected and connecting. The dialogue between art, artists and viewers is much like quasars – they bombard us – they emit massive amounts of energy and are integral to the expansion and merging of galaxies – of art. I am bombarded by the blues of Yves Klein, Picasso’s remarkable placement of line, the sheer bold and demanding quality of Tracy Emin, the abstract power and rolling colours of Pollock, the brilliant ink brush of Zhang Daqain to name a few.

‘In the Current I’, Chloe Ho. Chinese ink, coffee, spray paint, acrylic ink on paper.

6. What inspires you to start a new series?

I actually see my work as an ongoing image even within any series of paintings. Each of my works connects and continues my visual story in some way. As the subjects or presentation changes, it reflects my newly realised truths about life, about beauty, about art.

Unconfined Illumination includes two of my most recent Four Seasons Series on fabric: Summer and Autumn. I was inspired by the long tradition of painting on fabric, not only in ink, but throughout the history of art. Fabric is both painterly and sculptural. Its movement creates new angles and dimensions and adds a tactile dimension to the art. It flows visually and envelops the viewer because of its very nature. The women’s figures and colour choices were part of my continuing artistic dialogue about changing psychology, physiology and nature. The transitions of the seasons reflect the blooming and fading on a macro and personal level.

‘Unconfined Illumination’ by Chloe Ho runs until 15 November 2019 at 3812 Gallery London. For more information visit: 3812gallery.com

California Tech University (Caltech), where Kevin Xu has endowed the new Neurotechnology Center, due to open next year

As a business leader, scientist, activist, media owner and philanthropist, Kevin Xu is the embodiment of a Renaissance entrepreneur. Andrew Saunders delves into the businessman’s master plan

Kevin Xu

He may not quite be a household name – at least, not yet – but the chair of the MEBO group of regenerative wound care businesses, Kevin Xu, is a force to be reckoned with in the many spheres of his interest all the same. International entrepreneur and mentor; scientist, academic and researcher; advocate for better commercial relations and greater mutual understanding between the US and China; media owner; committed global philanthropist recognised with an Empact 100 award from the UN.

Follow LUX on Instagram: luxthemagazine

As if that wasn’t enough, Xu also manages to fit in being a contributor to leading business titles including Forbes, Wired, Inc and Business Insider. No wonder he says wistfully that he doesn’t get much time to keep up with the fortunes of his favourite basketball team, the Dallas Mavericks, these days.

It’s an eclectic and impressive line-up of interests for a man whose ‘day job’ is running one of China’s leading biomedical therapeutics businesses, burns treatment specialist MEBO International. But the thread that unites his diverse activities is his personal credo: if you help someone, they will help others in their turn. “I believe in reciprocity and leadership,” he tells me. “I believe that if I can help an individual to lead a different life, then that person may reciprocate back to society when they become a success themselves. That’s why my interests are wide-ranging and don’t have any restrictions – not ethnicity, region, social status or gender bias. It’s all about individuals who I can help and make a difference.”

To aid him in that quest he also possesses two other valuable assets: a packed international diary and a 24-carat contacts list. He was born and raised in California, but we meet in London – he came for Royal Ascot, but also for meetings with charities and NGOs he’s interested in – before he headed to Japan for that country’s first-ever G20 summit. He’s on the advisory board of the California-China Trade Office, serves on the Asian Advisory Board at the University of Southern California’s Davis School of Gerontology, mentors young entrepreneurs at MIT, is the founder of the Kevin Xu Initiative at the Harris School of Public Policy at the University of Chicago and has endowed a new Neurotechnology Center in California Institute of Technology. The list goes on.

Perhaps the relationships he is most proud of, however, are his ties to two former US presidents, Bill Clinton and Barack Obama. He’s a member of the Clinton Global Initiative and a contributor to the Obama Foundation, and recently spent a fortnight with Clinton in the US Virgin Islands, working with the 42nd president of the United States in connection with its efforts to help rebuild the region after the devastating 2017 hurricanes.

Kevin Xu (pictured with Bill and Hillary Clinton here), is a member of the Clinton Global Initiative.

His view is that great world leaders all share a concern for humanity – and human life – above all. “True leadership involves a value system that puts people’s lives first. Clinton and Obama have that humanitarian aspect and so have other world leaders I have met – people like Pope Francis and [former UN secretary general] Ban Ki-Moon.”

Xu’s connection with the two former presidents was forged in the aftermath of the traumatic death of his father, MEBO founder Dr Rongxiang Xu, in 2015. “It was an accident – an awful shock,” he says. “It was a moment when I realised the power of mentorship. Presidents Obama and Clinton stepped up and carried me through that time – they sent condolence letters and said they would be role models to teach me how to carry on good leadership.”

At the age of 27, Xu not only had to cope with the loss of his father, but also with being parachuted into the pilot seat of the business that Dr Xu had built and run for 30 years. “My biggest fears when my father passed away were firstly that I didn’t know how to run his business in China, and secondly that I didn’t know how to create connections with people there. I grew up in the US, I didn’t know anything about China.”

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

The business was well established in China, where Dr Xu first developed his pioneering moist environment burns therapy (MEBT) in the 1980s. Based on traditional Chinese medicine, the therapy capitalises on the human body’s innate ability to regenerate its own tissues, in a carefully controlled environment. Even deep-tissue, third-degree burns can be successfully treated without the need for painful or disfiguring skin grafts, says Xu. “My father decided to become a burns surgeon because he realised that burns are the most painful conditions people ever face – both pain from the burn and pain from the treatment.”

By the time Xu took over, the business had trained almost a million doctors in the use of its therapy, and had a network of 65,000 hospitals in China alone. Picking up the reins was quite a responsibility.

Xu works with former US president Barack Obama

When President Obama invited Xu to stay with him and be part of the official delegation for the US state visit of Chinese President Xi Jinping in 2015, doors were opened that might otherwise have remained closed to him for years. “Obama helped me to make a whole new group of connections between the US and China that are different from those of my father’s era. I met President Xi almost every day.”

That meeting led to MEBO being selected as one of the Chinese government’s official partners on the UN’s Every Woman Every Child initiative, providing medical experts to help deliver the global programme for women’s, children’s and adolescents’ health in many countries. As Xu explains, there were ten such official Chinese partners, and nine of them were already chosen by the time he and President Xi met. “I believe in serendipity, and that happened serendipitously. President Xi decided to have MEBO as number ten.”

His network of A-grade connections is also helping to bring the MEBO burns treatment to the US, via California-based company Skingenix, of which he is also CEO. The road to approval is not an easy one; when the process began in the early 2000s, the FDA regulator didn’t even have a category for treatments based on Chinese medicine. Thanks to the new regulations implemented under the administration of another former president, George Bush Jr, it does now – the category of ‘botanic drugs’ – and the approval process is ongoing.

Read more: Travelling beyond the beaten track with Geoffrey Kent

What have his experiences taught him about fostering better understanding between China and the US? “It’s like the psychology of dating – the US way of dating and the Chinese way of dating show exactly how they each do business,” he suggests. “If a Chinese person takes you seriously and wants to marry you, they will take things slowly, because they want to get to know you. If a US person wants to marry you, you are more likely to get into a fight early in the romance – they are more willing to say something that might hurt you, because they care about you.”

They are two ways of achieving the same goal he says, the main difference in both love and business being that the Chinese approach involves taking a long view. “Eastern people think further ahead, but they don’t always state their full intention at the start. They use connotations to imply it, and that can cause misunderstandings with western people.”

Xu leads a mentoring meeting at the University of California, Berkeley

Another leadership challenge Xu has faced is the fact that many of the experienced executives who help him run MEBO are from his father’s era, and are considerably older than their current boss. “My key advice to young entrepreneurs running a company with older people is not to take your youth as an advantage, but a disadvantage. Be humble and learn what they are thinking. Treat them like your parents, people with more experience than you.”

And what of his co-ownership of Californian media outlet LA Weekly, which he acquired in 2017 alongside several other local investors? Where does this fit into the plan? “I bought it because I understand the importance of media. I love the city where I grew up, but there is too much focus on entertainment, movies and gossip. There is also a more humanitarian side to the city, it just needs bringing out. If I want to change the way people think, I must change the media. Since I bought it, it has become more focused on philanthropy and the arts – a channel for distributing positive energies to people.”

So once again, it may look random from the outside but it’s all part of his plan. What’s the ultimate aim? “I have two goals. My goal for MEBO is that the technology should be available in every country, so that when the world needs us, we will be there. My personal vision is that I want to create a new balance between peace, stability and the self. I want to use science and a new way of thinking to regenerate the world, just as MEBO regenerates the body.”

You heard it here first.

Management by horoscope

East also meets West in one of Xu’s more unusual leadership techniques – using astrology to recruit the right people. “I like horoscopes because I studied neuroscience, and my favourite part of history is Greek mythology. In the company, I know the horoscope signs for most of my people and I place them according to their strengths. Scorpios are more meticulous, for example, so they are suited to finance work, whereas Leos and Aries are more outspoken – it is easier for them to develop new markets.” What does his own star sign indicate? “I am Libra – that’s why I like balance,” he says.

Find out more about the MEBO group: mebo.com

One of the panel discussions at the YPO Edge global leadership conference in Singapore in 2018, an annual event that brings together nearly 3,000 business leaders

The YPO may just be the most influential organisation in the world that most people haven’t heard of. An association of major business owners and chief executives spanning Asia, the US, Europe, Africa, South America, Australasia and the former Soviet Union, it is part high-end networking forum, part extended family. It is notoriously difficult to join, and those who are in say its discussion groups, events and networks have transformed their business and, sometimes, their personal lives. LUX Editor-in-Chief Darius Sanai hears some insights from YPO members in Asia

Joelle Goudsmit

Joelle Goudsmit, CEO of Dimension-all Group, Philippines

YPO member since June 2012

LUX: How did you first come across the YPO in the context of your business?
Joelle Goudsmit: I took over the family company when I was 24, because my mother passed away quite suddenly. I had a liberal arts degree that I enjoyed but it did not really prepare me for working in construction and scaffolding, the family business in the Philippines. A degree in economics and Japanese literature does not prepare you for negotiating with contractors.

I was talking to someone in Hong Kong, who asked whether I’ve ever heard of this group called YPO and said that I really should join. I was a bit suspicious, as she was a random
person in my yoga class, so I answered that I was a bit overwhelmed just then and that I didn’t have room for anything else. Then YPO came up in a business context with several other people across Asia. So, I joined when I was 30, when there was critical mass with lots of people who were around my age, and it was wonderful.

Follow LUX on Instagram: the.official.lux.magazine

Leading a company is really quite lonely. You don’t necessarily have peers at work, you have colleagues who work for you. That’s a very different dynamic. When you work in a family business, there can be complications because the work tends to come home and your family then becomes stakeholders first, not necessarily family.

Your YPO forum does not have a vested interest in your business, they just listen, they are peers, and tend to be willing to share. Looking across the organisation, the common denominator is that the people come in with a willingness and a desire to constantly learn throughout their lives. I personally think that it doesn’t matter how challenging work gets, there is a point at which one gets a little stupid doing the same thing over and over. It’s much better t go to a YPO event to unplug, get inspired, and get new energy in order to bring that drive and inspiration back to work, and to maybe look at problems in a different way.

LUX: When you joined, did being a member help your business in specific ways?
Joelle Goudsmit: Yes, I have a number of examples of where I received unbelievable business support. When I purchased my first company, I was trying to find out about the business as quickly as possible. I decided I’d be doing business development straight away, not to be the CEO, just to go out, meet with potential clients and see whether the business was truly viable.

YPO has chapters and networks. The networks deal with your current interests , whether they be business or personal/social. I joined the deal network, I was quite active with them, and they organised these sessions around the world where you went in and met with a group. You were open about what your company needed at this point and whoever was in the room would volunteer leads for you or they could suggest someone they know or a chapter mate or someone in your realm. I remember I was in Dubai at that point and was looking for potential strategic partners. I put my need out to the table and really wasn’t expecting anything. Someone at the table goes, “come speak to me at work tomorrow”. They became my first client I acquired on my own for the company, and it was a wonderful “Phew! This company is viable” moment. It gave me a lot of confidence and hope for that company. That came out of YPO and has repeated a lot of times ever since.

I recently had breakfast yesterday with someone I met through YPO. Previously, he had a work colleague he had sent to the Philippines who needed emergency medical care. He didn’t know what to do, so he had sent a message out to the network. We responded and we were able to make a phone call to someone who owned a hospital close to where the man was, and was able to get him the right care.

So, at breakfast recently, he mentioned he was going to Kazakhstan, and I mentioned I’d like to explore potential business opportunities in Kazakhstan. So, he is phoning people to make introductions. You never know where these will lead, but it saves you having to go into a country that is very foreign, where you don’t know anyone. It’s a huge deal.

Delegates at the YPO Edge conference in Singapore, 2018

Jennifer Liu

Jennifer Liu, Hong Kong-based owner of The Coffee Academics and founder of HABITŪ, Asia

YPO member since May 2017

LUX: Why did you join the YPO?
Jennifer Liu: When your entrepreneurial businesses reach a certain international scale, the YPO makes great sense, in terms of forming an alliance with other business friends and understanding the business environment.

I have not been a member for long, and I am getting active; for example, there is a very interesting event where YPO members in Hong Kong and the region visit the Greater Bay Area of China [the region connecting Hong Kong with mainland cities such as Shenzhen and Guangzhou]. YPO has a very selective process for its members. The calibre and the sophisticated mindsets of the people set it apart. I believe there are fewer than 100 members in Hong Kong. I went through three interviews.

LUX: What kind of questions were you asked?
Jennifer Liu: They want to know if you really are the person who makes all the important decisions in your company. Whether you’re an entrepreneur or a top manager. And whether or not you can impact your company and the city or the world, one way or another both in the business world or the charities space.

Read more: Tips for a successful application to one of London’s most exclusive members’ clubs

LUX: You have been a member for less than two years ; how has it been?
Jennifer Liu: I love it. There are the very senior members who have seen it, done it, and they have all the words of wisdom. They have so much to share and for us, coming into this point in time where you’re no longer a young business person and you’re quite big, but you still have a lot to work on and to learn about, YPO has that resource of some of the best talents in town and also in the region or in the world, to openly and safely provide suggestions or networks. So, I think, in a way, when we come out and we say we are YPOers, it immediately means a certain standard, in terms of trust, respect and confidentiality. And in YPO, there is no specific hierarchy. Everyone is equal, and we all share . When it comes to confidentiality, it very clear what is level one, what is level two, and you feel very comfortable to share things you can’t even share with your family or your spouse or your co-workers.

LUX: In what way is it useful for your business?
Jennifer Liu: It’s very useful for me as person to have a safe environment to open up and to know people and to know what’s going on in Hong Kong or elsewhere in the world. It has a well-built system where we are not soliciting business between each other, but it’s a platform where we share useful and trusted information, both for business and personal matters.

Mathew Boylan

Matthew Boylan, President and CEO of Matador Systems, Singapore

YPO member since October 2010

LUX: How has YPO helped your business?
Matthew Boylan: YPO has done two incredible things . Number one, it is an amazing security blanket because for a company like mine the only way that we can survive is to be able to support clients in more than one location. Our clients need to work with one supplier for their entire IT support strategy whether that is in Singapore, Vietnam, Australia, Korea or Japan. That means we need to have operations in all of those countries, meaning we have to incorporate a legal entity in those countries, meaning we have to navigate the rules and regulations that apply to employing permanent staff in those countries.

Before I joined YPO, one of the experiences that we had when we wanted to set up an office and incorporate a legal entity in China, we started talking to corporate consultants in Singapore who provided that service. The frustrating thing was that we would receive a quote from one corporate consultant for US$30,000 to incorporate in Shanghai, we would receive another quote for US$300,000 for exactly the same service. You are going into a market that you don’t have much knowledge about or experience in, you have to put a certain amount of trust in third party suppliers, but it is very difficult if you have not been recommended to those third-party suppliers, you have to do your own diligence, your own research.

You completely bypass the entire process by being a YPO member. All you need to do is pick up the phone or send an email, in this case it was to a YPO member who is based in Shanghai, and ask, “Can you please provide me with a recommendation to a corporate consultant who you have done business with, who you can trust, who you know will be able to support our needs in Shanghai?”. You know straight away that you can trust whoever they recommend. No matter where you are doing business you know that through the YPO network you can receive trustworthy and credible recommendations to third parties you need to rely on.

Read more: Inside Bangladesh’s Rohingya refugee camps

Number two – and this is so important in today’s business world – YPO allows you to conduct business at hyper speed.

I have been able to leverage off Matador’s expertise and infrastructure and resources to incubate and accelerate a lot of other different businesses. So, if you are looking for a manufacturing partner in a certain market, you’re looking for a distribution partner in a certain market, again you can leverage off the YPO network to actually source those.

One of my new businesses for 2018 was releasing a new product into the Japan market, we needed to source a manufacturer either in China or Vietnam, and through the YPO network I was able to source potential manufacturing partners within 24 to 48 hours. The two business partners who I am working with are based in Tokyo, who are not in the YPO, they have been struggling with this for twelve months with no progress, and they just said, “Matt, how did you do this?” I said it was through YPO and they were fascinated. Basically, within a 48-hour period I was able to source a manufacturer in Vietnam and also a manufacturer in China and in both cases, they were recommendations from YPO members in those respected countries. So, you can really work at speed, which is critical.

A speaker at the YPO Edge conference in Singapore, 2018

Noni Purnomo

Noni Purnamo, President Director of Blue Bird Group Holding, Indonesia

YPO member since November 2003

LUX: You were one of the first female YPO members in your region.
Noni Purnamo: Yes, I was first introduced to YPO about 15 years ago by a good friend who is a very successful businesswoman, Shinta Kamdani. When I joined there about only like three female members in Indonesia, including her and myself.

LUX: How has the YPO helped you?
Noni Purnamo: YPO has help me grow all sides of my life. I went through the ups and downs of various challenges. When I was in my mid thirties I was faced with this challenge of how do you balance being a mother and being a business person at the same time. It was the busiest time of my business life, when you have the most energy and so many things to do, you have so many things to handle and yet you have to handle young children because that’s normally what happens when you’re in your early thirties . So, during those times I was really relying on the YPO network, YPO experiences and YPO learnings. I have really relied on the forum [where up to ten members get together and talk confidentially], I have been in the same forum for the almost 15 years now, and they know more about me than I do myself! They have been through all the ups and downs of my life and the good thing about sharing this in a forum is because of the forum’s rules – it’s strictly confidential and there is no judgement, you can only share.

That structure really helped. At one point I faced what was almost a depression, and I went to the YPO Life, which is a five- day course for members in Mumbai, and doing it I learned a lot about myself. It saved me from that depression.

I then initiated the mother/daughter retreat in Indonesia. YPO is one of the organisations where you can get help in all aspects of your life. Some organisations are purely commercial, some organisation are purely networking, with this you can have a family, you can grow with it. That’s what I have gained from YPO.

Dimitri Goutenmacher

Dimitri Gouten, CEO Asia, Buccellati

YPO member since 2012

LUX: Why did you join the YPO?
Dimitri Gouten: In my previous company [the luxury goods conglomerate Richemont], we were doing an entrepreneurship award with a similar organisation. Some members went on to join the YPO and they recommended it. For many reasons. The first reason being the networking; with the YPO you are not seven degrees of important people, you are one or two degrees because you can really access entrepreneurs, bankers, investors, in a very quick manner. And then once you join, you have a lot of expertise available to you, and there are events where there are presentations on different subjects, so it’s like a university . You can be talking about the US economy one afternoon, then the singularity another afternoon, and AI. There are many subjects that are discussed at a high level and that are very interesting for all the members.

There are also events related to family, also events with children, because the whole point is about learning something – so you can learn something with your children, or you can learn something with your spouse, there are different kinds of events that are organised to promote business, family and personal life. That’s the holistic approach that it offers.

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

It’s a later stage the YPO forum comes, which is when you have this group of people that we gather every month to talk about personal, business and family subjects which are shared in an environment that’s 100% confidential, where you have trust with the different people. And the idea is really for everyone to really express themselves, share their emotions, share their values, and you know, tell you stories, memories that happened to them in a similar case to what’s happening to you or friends of theirs.

The idea is never to judge you, never to give you advice, but to just give you some relevant information that they see could help you make your own decisions. So, it’s not about “Oh you should do this, you should do that”, it’s really an open forum, where everybody can share and everybody can take the most out of what they want. It’s never about “Oh, I have this problem, what are the solutions?”, it’s “I have this problem, I’m going to do a small presentation to my forum mates, my forum brothers, and we will see and they all share”.

One of them can be in a family business, one of them can be an architect, one of them can be in the printing business, or finance.

LUX: It sounds like the forum is something that doesn’t really exist elsewhere?
Dimitri Gouten: Yes, and it’s true that you don’t really find it outside this forum because it’s ruled by confidentiality and trust, and the other aspect is the quality of the people, because the people who are also recruited join the YPO because of certain criteria that are fixed by the YPO itself.

LUX: And you found it useful in terms of business and personal support?
Dimitri Gouten: Very useful. As well as the forum, you also have all the rest of the YPO network, that you can also contact for certain things. For example, I can ask if there is anybody who has experience in importing jewellery into China? You will find somebody, and then you will have some sharing of information if the person wants . That’s the whole idea of the organisation, that you share with others and you benefit from that.

For example, a few years ago, we went to Taiwan with a member of my forum and we met other, different companies that belong to YPO and studied their business models . So, you mix that with excellent food on the trip, and it’s a very interesting experience. We also went to Japan at one time where we saw a company making electric cars. In Asia the YPO is very powerful, you can quickly touch some entrepreneurs, and most of the time we share because we know what YPO is and we are willing to share.

LUX: Is there a mechanism by which contact happens?
Dimitri Gouten: Yes, there is a website where you have access to all the members worldwide. It doesn’t accept solicitation, so it means a member can’t call me and say, “Do you want to buy this?” But they can send me a message and say “I’m in this type of business and I’m in Hong Kong next week, could we meet for a drink?” And you trust them, you know that they are in the same organisation and they also follow the same standards.

For more information visit: ypo.org

The new flagship Rosewood hotel in Hong Kong

Hong Kong’s brand-new Rosewood Hotel is a triumph of taste and style, says Darius Sanai

Moving speeches, fabulous conversation, amazing design, O Toro from Japan, Hospices de Beaune Meursault from Burgundy, pata negra from Andalucia, and a feeling throughout that you are in a very swanky, perfectly curated version of a Soho House.

The hotel, the brainchild of Sonia Cheng, third generation scion of the family, was nearly a decade in the making and is one of the centrepieces of the Victoria Dockside development, Hong Kong’s answer to New York’s Hudson Yards, masterminded by her elder brother Adrian.

From left to right: Ms. Katherine Mei Hing, Dr. Hendry Cheng, Ms. Sonia Cheng and Dr. Adrian Cheng at the opening part of Rosewood Hong Kong

From left to right: Ms. Sonia Chen, Ms. Katherine Mei Hing and Ms. Pansy Ho attend the Rosewood Hong Kong opening party

Every detail is both exquisite and tasteful – the Rosewood Hong Kong is the polar opposite to those gold plated, taste free monoliths in the Gulf.  All around, you feel that you are surrounded not just by expensive things, but by extremely thoughtfully chosen ones.

Our favourite bit? The Manor Club, on the 40th floor. Shelves are lined with gorgeous art books, there was an extremely professional game of snooker going on in one room, and a door behind the bar opens up to the most stunning view of Hong Kong, and the Peak behind, of any hotel.

Worth visiting now, and even more so when the Victoria Dockside finishes in all its cultural glory later this year.

Book your stay: rosewoodhotels.com/en/hong-kong

Vicky Xu with one of her racehorses

LUX Editor-at-Large, Gauhar
Kapparova

Vicky Xu, the head of Hong Kong venture capitalists Global Group’s new Lifestyle & Sports Club, has brought her lifelong love of horses to bear on the exclusive benefits the club offers its members. She tells LUX Editor-at-Large Gauhar Kapparova what it takes to make her club that bit different and how to turn a horse into a winner

Vicky Xu is vice chairman of the Global Group, the Hong Kong-based venture capital investment company, and CEO of the group’s Lifestyle & Sports Club. A citizen of the world with a passion for horses, she tells LUX Editor-at-Large Gauhar Kapparova about her motives for launching her new sports and horse-racing club, offering private members exclusive access to some of the greatest equine and sporting events – and ensuring a happy life and eventual retirement for the horses.

LUX: Where did your love of horses begin?
Vicky Xu: It all started in Mongolia, when I was eight years old. My first riding experience took place during a summer holiday with my father. Mongolia’s horses can be wild, but I remember talking to the horse before climbing on its back in an attempt to calm him, asking that he be gentle, as it was my first time to ride. Horses are renowned for being sensitive to human emotions and interacting with people. As a result, I had an amazing first-time experience on horseback, and since then I have been in love with horses and continue to ride in Hong Kong and London.

Follow LUX on Instagram: the.official.lux.magazine

LUX: With so many members clubs now in existence, how is the Global Group Lifestyle & Sports Club different?
Vicky Xu: It is designed for anyone around the world who wants to experience prestige privileges in addition to participating in world-class sports and thoroughbred racing events as well as networking and entertainment. The club offers unparalleled benefits to our members.

The club will hold 20 outstanding horses and the number will increase based on the number of members. Our stable has been expertly bred and trained and will participate in Royal Ascot and other important events such as Newmarket’s Guineas and July Festivals, York’s Dante, the Ebor Festival and Glorious Goodwood. Aside from these events, the club’s horses will also have the opportunity to participate in top horse-racing events in Europe, such as the Prix de l’Arc de Triomphe and Le French May. Members can share in net prizes won by the Club horses as well as experiencing these top international events in person.

Each year the club will either organise or provide access to a minimum of 12 events for members. While major race meetings will always be a highlight, with members attending events in the UK, France, Dubai and the US, other sporting offerings will include premier car-racing events such as Goodwood Revival and the Goodwood Festival of Speed; the Wimbledon tennis championships; a selection of exclusive, invitation-only gatherings such as the amfAR Gala in Cannes. There will also be an annual gala dinner held at the Palace of Versailles.

We also offer our members the opportunity to create their own tailored experiences. These include the chance to meet with world leaders, captains of industry, and the superstars of fashion, entertainment and sports.

Vicky Xu with Johnny Hon (far left), the chairman of Global Group, and Ed Dunlop (far right), the trainer of Hon’s horse Global Giant, ridden by Gérald Mossé at Ascot

LUX: What are the challenges of running an international members club?
Vicky Xu: There are literally thousands of details that must be attended to daily to ensure the execution of the highest levels of service to our international members. While most of our events are exclusive and by invitation only with limited-seat availability, we want all our members to have the opportunity to participate in our events. We have no choice but to limit our membership to about 360.

LUX: What are your top three picks of the private events that Platinum members have access to?
Vicky Xu: Exclusive access to a private box in the Royal Enclosure at Royal Ascot; exclusive access to various world-class events at Goodwood Estate, including Glorious Goodwood, the Goodwood Festival of Speed, Goodwood Revival, and Formula One races. We also provide assistance to attend The Wimbledon Championships, the oldest and most prestigious annual tennis tournament in the world.

The finishing line of the Royal Hunt Cup at Ascot, 2018 (above), with Vicky Xu speaking

LUX: Members have the opportunity to have assets in the horses. How does this work?
Vicky Xu: The Global Group already has its own professional team of horse breeders and trainers in the UK, and over the past three years it has been honing its skills in these areas. We have hired a professional team and have a better understanding of the sport, which is of potential benefit to our members. The club will apply this knowledge to its own stable of racehorses, aiming to acquire horses that will race in events around the world, with members sharing in the winnings.

The club’s professional team is committed to its quality breeding programme, with its many years of experience in the pure-bred horse industry and access to advanced DNA technology. The value of this expertise is significant in producing quality race horses. Members will be able to benefit from the added value of horse assets while also enjoying the exhilaration of horse racing.

Read more: Why you Aman Le Mélézin is this month’s hottest hotel

LUX: Describe the thrill of a horse race.
Vicky Xu: At Royal Ascot last June, we brought some of our prominent guests and they all enjoyed the perfect racing experience, seeing the horses cross the finish line and capturing the best moments close at hand in the Royal Enclosure. In addition to the club’s 20 horses, the group currently has 40, one of which came fifth this year and was awarded Best Looking Horse on Ladies’ Day.

LUX: Who is your favourite designer to wear to the races?
Vicky Xu: I always believe in the maxim ‘you are what you wear’. There are so many designers I like. The most important thing is to respect the dress code and style etiquette of each race day.

LUX: How have new DNA technologies changed the horse industry?
Vicky Xu: Genetics testing has definitely arrived in the world of thoroughbred horse racing. Our professional team knows well that the modern thoroughbred’s performance is based on a great deal of things including the genetic ability of the horse and environmental influences including the condition of the horse and the track, the jockey, the competition and the race distance. But a good horse also needs courage, heart ,grit and the determination to win. Racehorses are actually professional athletes. We have to train them, love them, communicate with them and respect them.

Xu riding in Hong Kong

LUX: Why is the club setting up a charitable fund to look after retired racehorses?
Vicky Xu: We want to ensure that once their days on the track are over, the racehorses will be well cared for.

LUX: Where do you see the Global Group Lifestyle & Sports Club in ten years?
Vicky Xu: We’ll explore even more exclusive and prestigious events from all over the world for our members. I trust we can recruit many more international members in 10 years’ time and let more people enjoy the exhilaration of horse racing and other tailor-made events. I hope that one day the club’s charitable fund will be able to provide opportunities for more people, especially children, to enjoy horse riding and its many benefits, such as improved confidence, therapeutic and emotional benefits and the many physical rewards that the sport brings.

LUX: When you’re not at the races or working, what do you enjoy doing?
Vicky Xu: I am a mother of three daughters. Other than the races or working, I really enjoy most of all to spend time with them. Time slips by, so spending quality time together is the best way we have to show each other that we care and that our families are always the most important thing to us.

Find out more: global.hk

This article was first published in the Winter 19 issue.

The Avenue of the Stars is Hong Kong’s new oceanside promenade developed by Adrian Cheng

The Avenue of the Stars is the oceanside promenade in Asia’s most exciting city that has just been reworked as part of the vision of Adrian Cheng, developer extraordinaire

If you’re visiting Hong Kong this winter – well, lucky you. It’s the best time of year to experience the most vibrant city in Asia, and, as from today, there is no better place to catch the phantasmagorical light show that the city puts on every night than the new Avenue of the Stars. On the waterfront, this is a half-kilometre long pedestrian zone and green space with breathtaking views of the city, which has just been reworked as part of the area’s seminal Victoria Dockside development.

Follow LUX on Instagram: the.official.lux.magazine

The Avenue of the Stars at night, with the lights of Central Hong Kong across the harbour

Victoria Dockside is the vision of Adrian Cheng, entrepreneur/visionary, tech and cultural tycoon, and one of LUX’s favourite dudes, and later this year will open fully as a cultural, luxury retail, public art, residential and concert space (stick with us for more details). It will also host the global flagship of Hong Kong-based Rosewood Hotel Group (Hotel de Crillon in Paris, The Carlyle in New York, etc), run with eye-watering panache by Adrian’s super-stylish maths genius sister Sonia.

Sibling rivalry? Maybe, but it’s certainly producing some epochal results. It’s time for that midnight stroll…

Darius Sanai

Read our LUX x Rosewood collaborations on ‘The New Creative Entrepreneurs’ here: lux-mag.com/meet-the-new-creative-entrepreneurs

Instagram: @nelis_vansia

Has Instagram been taken over by fake follower fever, banal mirror selfies and blatant product promotion? Not if you’re one of the new wave of creatives, eschewing follower numbers and influencer labels and doing it their own way, says Bryony Stone

A LUX x ROSEWOOD COLLABORATION

Instagram is in danger of eating itself. More than eight years after it was founded, what started as a photo-sharing app morphed first into a badge of cool among first movers and later into the biggest photographic movement in history. People’s self-worth, and tragically sometimes their lives, can hinge on followers and likes, and a generation of self-declared influencers (if you think about it, that can’t really be a job) are creaming fortunes, large or small, from their commercial posts. Kim Kardashian West and Kylie Jenner, two members of the Kardashian clan, boast a collective total of 236 million followers, which, while there’s almost certainly overlap, still constitutes just over three percent of the world’s population.

Follow LUX on Instagram: the.official.lux.magazine

It’s unsurprising that scrolling through Instagram is starting to feel like falling head-first down a rabbit hole into a wonderland where everything is #sponsored. Wasn’t that new influencer in Fendi wearing Prada yesterday and Gucci the day before? Does he really have 871,000 human followers? And who actually looks perfect all day, every day anyway?

Yet, under the radar, a new wave of Instagram stars is emerging. Forget fake followers and paid-for posts: these creatives are more interested in contributing to the real culture in the cities around them, and in the aesthetic of what they can create on what is still a remarkable visual medium. From Paris to New York, Hong Kong to London, meet four individuals who are redefining the Insta scene from the inside out.

Instagram: @de3ng

@de3ng, New York

Sudan-born, New York-based Deng Duot Deng describes himself as a “muse, model, creative director and casting director”. He has his own clothing line called Dengwear and posts crafted images with a casual feel that combine his passions: design, football and streetwear.

Describe your Instagram style: “Grounded in the nuances of street style and culture.”

How has the platform changed your life? “It’s a way to interact and connect the dots. I can see my common interests [with other users] as well our different tastes in art, fashion and culture. Through Instagram I’ve been featured in a campaign for Apple and a lookbook for Yeezy x Adidas.”

Instagram: @de3ng

Do you consider yourself an influencer or something else? “I’m a brand and a trendsetter.”

Why do you think people follow you? “I’m pretty authentic on my profile; I genuinely

express how I feel, but with a creative touch. Being natural makes a good image and keeps my followers engaged.”

What’s your favourite recent Instagram image? “A picture of my niece and I after her baptism. It was a beautiful moment.”

What are your New York hangouts? “Different creative spaces… I like to explore.”

What do you love most about New York? “The abundance of creativity – and the opportunities that can come from something as simple as walking into a bodega.”

Read more: Canary Wharf Group’s MD Camille Waxer on urban transformation

Instagram: @nelis_vansia

@nelis_vansia, Hong Kong

Instagram: @nelis_vansia

A former woodworker turned videographer, Hong Kong-based Nelis Vansia works at fashion-focused digital-media company Hypebeast. In his free time, he shoots intriguing, moodily lit films and stills that showcase the spirit of the city.

Describe your Instagram style: “Go with the flow. I like to capture everyday life.”

What’s Hong Kong’s creative scene like? “It’s a really tough place to survive creatively because the city is mostly focused on making money. You have to be tough here to do your own thing. But thanks to the internet, Hong Kongers are becoming more exposed to art and creation.”

Why do you use Instagram? “At the beginning, it was personal. Now, I’m posting videos and photos to build my own brand.”

Instagram: @nelis_vansia

Do you ever meet your followers in real life? “Half are my friends, and the rest are interested in the things I do. When I meet followers at events it can sometimes be awkward.”

Where do you go for downtime? “Hong Kong is so dense, but outside the Central Business District there are undeveloped areas such as Sham Shui Po where the pace isn’t as fast. Here, I can slow down and see everything clearly.”

What’s your favourite recent Instagram shot? “It’s a picture of Ydizzy, a rapper from Japan. I randomly bumped into him on the street chilling by the road and smoking and I asked if I could take a snap of him.”

Instagram: @Neptunes2000

@Neptunes2000, Paris

Instagram: @Neptunes2000

Jean-Yves Diallo is a Parisian street-style star, creative director and model with a penchant for whiplash-inducing outfits and creating conversation-starter, tongue-in-cheek images.

Describe your Instagram style: “Hybrid and colourful. I’m always adding new colours and patterns.”

Why do you post on Instagram? “To show people that you don’t necessary need big brands to break the regular codes and that only you make the image. I take pictures in the subway, in the streets, in ghetto apartments… you just need to be yourself.”

Instagram: @Neptunes2000

How has it opened doors? “I’ve extended my fashion network, but I’m careful with what I post. You can get lost by posting too much. People follow me because I have my own wave; I mix and match and don’t wear mainstream brands.”

Do you feel that you’re an influencer? “I consider myself more of an icon. I don’t want to influence people and all my life doesn’t turn around the app.”

What’s the creative scene like in Paris? “It’s heavy here, but people are too inspired by other countries and too conformist. They need to let their imagination speak out.”

What makes a great image? “I style and direct my own shoots so it’s all about the angle and light. Then I add my vibe to make it unique.”

Read more: Why creatives need to understand tech

Instagram: @edozollo

@edozollo, London

Instagram: @edozollo

Italian photographer Edo Zollo has been living in London for close to two decades. His low-lit and occasionally ominous images – which are always taken after dark and capture quiet moments and corners – showcase a side to the city that’s not often noticed.

Why do you post on Instagram? “Instagram feels like a small community because followers interact and share my passion for photography, but at the same time, it allows my images to reach a wider audience. My followers motivate me to go out in the dark and take pictures.”

Why do you think people follow you? “I’d like to think that my shots are mysterious; a bit [like] Hitchcock’s Rear Window.”

Where do you go in London to take a good image? “I don’t have a specific location. I’m mostly out at night. Once I’ve found the spot, I wait until someone with just the right amount of mystery comes along.”

Do you consider yourself an influencer? “I’m more someone that offers an alternative view of London.”

Instagram: @edozollo

What do you love most about London? “That it constantly changes! There’s always something new, something that changes your way of thinking. Also, it’s nearly impossible to be bored. Everything is here: entertainment, food and people from nearly every culture, and so your imagination is free to flow.”

Where do you like to hang out in the city? “House parties are my thing right now, but when I want to be alone, the streets of London at night become my secret spot.”

HÔTEL DE CRILLON, A ROSEWOOD HOTEL

Hôtel de Crillon in Paris is a grand microcosm of the City of Lights: a historic palace that is one of the city’s landmarks, and also a contemporary home for guests. As Paris develops its thrilling contemporary art, food and culture scene, atop the cultural riches and business powerhouses that sit the city atop the world’s fashion ladder, Hôtel de Crillon is, literally and metaphorically, at the heart of it all.

Book your room at: rosewoodhotels.com

This article was originally published in the Winter 2019 issue.

Five Château Mouton Rothschild vintages will be included in the “Versailles Celebration Cases”

Throughout Spring 2019, Sotheby’s will auction 75-limited edition cases from Château Mouton Rothschild to help fund restoration projects at the Palace of Versailles

Renowned French wine producer Château Mouton Rothschild  is auctioning 75 collector’s cases each featuring five vintages with labels designed by contemporary artists who have also exhibited at the Palace of Versailles, including Giuseppe Penone, Bernar Venet, Anish Kapoor, Jeff Koons and Lee Ufan. Aptly titled the “Versailles Celebration Cases”, funds raised will go towards supporting the ongoing restoration projects at the Palace.

Follow LUX on Instagram: the.official.lux.magazine

Château de Versailles. Photo by Thomas Garnier, Courtesy Château de Versailles

The auction will begin in Sotheby’s Hong Kong on 1 April, followed by London on 17 April and concluding in New York on 4 May. Successful bidders will also win an invitation to a private tasting at Château Mouton Rothschild, as well as two tickets to the Versailles Celebration Gala Dinner at the Palace of Versailles in September where ex-cellar vintages of Château Mouton Rothschild will be served.

Discover Château Mouton Rothschild’s full list of collaborating artists and labels: https://www.chateau-mouton-rothschild.com/label-art/discover-the-artwork

Tuscan winery owner Giovanni Dolfi, who acted as a mentor to 2016 Gaggenau Sommelier Award winner Marc Almert

The art of the Master Sommelier is steeped in tradition, but with the rise of ever-more sophisticated technology, Rebecca Gibb reports on the evolution of the role for the modern age

Hong Kong-based
sommelier Yvonne
Cheung

It was 7.30pm and the sun had descended into the western horizon, leaving another sultry evening in Hong Kong. The cacophony of car horns resounding from the tomato-coloured taxis inching their way along Queensway became a murmur, as diners ascended the 49 floors to the calm of luxury hotel The Upper House. In its restaurant, sommelier Yvonne Cheung was guiding a bottle of 1989 Cheval Blanc from its rack, as if it were a newborn. Sealed almost three decades ago when Hong Kong was still a British colony, its russet liquid was about to be released from its glass cocoon. But with no candle to hand, she gave the traditional process of decanting a modern twist, pulling out her iPhone, scrolling up and clicking the flashlight button, transferring the bottle’s precious contents with the assistance of Apple. Some 8,000 miles away, Patrick Cappiello’s lavishly tattooed arms were on full display as he sabred another bottle of prestige Champagne in a New York wine bar. Once a suit-and-tie-wearing sommelier, Cappiello encapsulates everything that has changed in the world of wine service, ditching the formal business attire, and adding a sense of fun.

Follow LUX on Instagram: the.official.lux.magazine

Cheung and Cappiello are key members of the sommelier revolution. The meeting of tradition and modernity in wine service has tracked fine-dining trends: in recent years hushed dining rooms, starched tablecloths and haughty waiters have been ditched in favour of less formality. This casualisation of dining has occurred at the highest level, which has also altered the appearance of sommeliers: the man or woman dishing out wine advice is just as likely to be wearing a T-shirt emblazoned with the name of their favourite death-metal band as a shirt and tie. Texas-based Master Sommelier James Tidwell recalls: “Everybody used to be in suits. When I started the Court of Master Sommeliers courses, I saw people turning up in tuxedos because that was the standard of the time! Now you see sommeliers serving in jeans and T-shirts. Casualisation of dining has casualised sommeliers, but their role is still: how do you get the wine to the guest in the best possible condition? That might be baskets and candles, but it might be decanting it with your iPhone flashlight.”

The world of the modern sommelier flowed into suburban living rooms in 2012 with the release of Somm, a documentary following a group of sommeliers in pursuit of the prestigious – and often elusive – Master Sommelier (MS) qualification. Variously described as ‘rock stars of the industry’ and ‘sickly gifted’ the film raised the profiles not only of those ‘egomaniacs’ attempting to pass one of the most difficult exams in the world, but of the entire profession. Almost overnight, it became cool to be a sommelier and audiences realised it was worth listening to the guy offering wine advice (it usually is a guy – of the 249 Master Sommeliers in the world, only 25 are women).

The 21st-century sommelier

While technology has helped candle-less sommeliers decant mature bottles, it has also empowered diners. The rise of wine apps means people can now compare the average retail price of the bottle with the list price through Wine-Searcher, they can view drinker ratings on Vivino and, in 2016, a free app named Corkscrew, a ‘sommelier in your pocket’ teamed up with London restaurants, providing food and wine pairing suggestions based on the venue’s menu and wine list. Marc Almert, sommelier at five-star Zürich hotel Baur au Lac doesn’t think apps will replace sommeliers, but they may change their role. These apps, “Help the guest to be more self-assured when ordering wine,” he says. “Thus we become less of a wine consultant and more of a conversation partner. It allows us to exchange with the guests more openly.” Almert’s view of this evolution is echoed by sommeliers on both sides of the Atlantic and the Far East, but with the development of other technologies that replace the need for humans, including driverless cars, the sommelier-less wine list seems to be the logical conclusion.

Read more: Exploring the rugged beauty of Tajikistan along the Pamir Highway 

That said, a survey of 250 sommeliers across the US in 2000 found that when there was a sommelier in the dining room, more than a third of diners asked for wine recommendations, more parties ordered wine and the average bill was higher. It is apparent that some diners avoid buying wine because of the perceived risk – what if they buy something they don’t like or that won’t please their fellow diners? A sommelier can help to alleviate that fear, leading to increased sales. A more recent study of 50 restaurants in the Spanish city of Valencia also found that a knowledgeable sommelier with a well-curated wine list enhanced the customer’s satisfaction, raised the venue’s prestige and increased profitability.

Gaggenau’s head of global brand, Sven Schnee

And there is an increasing number of knowledgeable sommeliers. Since 2012 – the year Somm was released – more than 50 people have passed the MS exam, swelling its ranks by almost a third. What’s more, hundreds participate in fiercely fought sommelier competitions each year in the hope of being crowned the best sommelier in the country – and the world. These competitions aim to test the knowledge and ability of sommeliers, take them out of their comfort zone, and make them better hosts whether they win or lose. Before lunch service begins, you’re likely to find the most competitive sommeliers poring over wine maps, studying obscure appellations or trying to identify the origin and variety of wines from taste alone. The final of the biennial Gaggenau Sommelier Awards 2018 takes place in Beijing in October, bringing regional winners from North and South America, Europe and Asia. Sven Schnee, Gaggenau’s head of global brand, is also a judge. “Sommeliers are part of the culinary culture and, unlike chefs, they are heavily under-appreciated,” he says. “The sommelier has the most interaction with the customers. He must understand the components of the food, the wine and the interaction between them, but most of all, must be the perfect host.”

The UK leg of the competition was fiercely fought and judges Richard Billett, head of Maison Marques et Domaines, the UK arm of Champagne Louis Roederer, Craig Bancroft of boutique hotel and Michelin star restaurant Northcote and LUX Editor-In-Chief Darius Sanai were looking for personability as well as wine ability. “It goes without saying that a good sommelier needs to be highly knowledgeable, but knowledge is a precious quality that needs to be handled in a very careful and respectful way,” says Bancroft. “Many customers do not fully understand the role of a sommelier and sommeliers must understand that their role is to provide the customer with the best possible wine experience that suits the occasion and the price range in which the customer is comfortable.” Billett also emphasises the importance of people skills: “A good sommelier who recognises the importance of his role in the customer experience will prove to be a commercial and reputational asset for the restaurant. An arrogant and unhelpful one, a liability.”

Zareh Mesrobyan, winner of the first Gaggenau UK Sommelier Awards (centre) with fellow finalists Tamas Czinki (left) and Luca Luciani (right)

Clearly, Almert offered the full package in 2016, becoming the global winner of the Awards. Still in his twenties, he is full of energy for his profession but long – and unsociable – hours, the increasing pressures of the job, and a desire to see what else they can do beyond the dining room means that you’ll find many experienced sommeliers now working outside the restaurant business in distribution, retail and education. For example, Tidwell spent two decades on the floor but now runs an annual conference for US sommeliers, Texsom. “As you get older, being on the floor of a restaurant early in the morning and hours that are not conducive to having families or friends outside of the business is less appealing,” he says. “Plus, the wear and tear on the body will eventually add up.”

Read more: Test driving the Maserati GranTurismo MC 

However, once a sommelier, always a sommelier. Fellow MS Gearoid Devaney is the director of London-based Burgundy wine importer, Flint Wines, and runs City wine bar and restaurant Cabotte. He believes that even if you are no longer on the floor, you are a sommelier for life. “I work as a wine merchant with a sommelier outlook in terms of the service I provide and delivering wine to people. I will always work with a sommelier’s brain. It’s about being the link between the producer and the end consumer and doing that with integrity.”

Whether they are on the floor for a year, a decade or a lifetime, sommeliers are dedicated to being personable and ever more professional in the face of technological advances. Wine is the reason for a sommelier’s existence but distilled to its essence, it is about caring for people. And Bancroft predicts a bright future. “There will always be a place for a sommelier,” he says. “The human touch, the real understanding of what someone is looking for, and for a sommelier to be able to deliver that to a client, truly enhances the dining experience.”

The first Gaggenau UK Sommelier Awards

Zareh Mesrobyan, from two-Michelin-star restaurant Andrew Fairlie in Gleneagles, Scotland, has been crowned the winner of the first-ever Gaggenau UK Sommelier Awards. He will represent the UK in the global competition in Beijing in October. Mesrobyan competed against Luca Luciani from Locanda Locatelli and Tamas Czinki from Northcote in five rounds including blind tasting, food and wine pairing and service role plays. Judge Craig Bancroft said Mesrobyan has a “superb chance of success on the worldwide stage”.

For updates on the Gaggenau Sommelier Award 2018 visit: gaggenau.com

The K11 Musea retail complex forms part of the Victoria Dockside development

Entrepreneur Adrian Cheng and landscape architect James Corner are transforming Hong Kong with a multi-billion dollar development plan. Leading architecture writer Mark C O’Flaherty reports

Every city wants its own High Line. Designing an urban park that sits cheek by jowl with super-prime real estate is a difficult task, and the benchmark is the 1.45-mile-long repurposed structure that runs north from the once run-down – nay, degenerate – Meatpacking District in Manhattan. So, when Adrian Cheng (son of Hong Kong billionaire Henry Cheng and executive vice chairman of real-estate behemoth New World Development) was looking for someone to transform the world-famous but tired TST waterfront area of the Kowloon Peninsula into a 21st-century destination for recreation, he turned to James Corner of Field Operations. Corner is perhaps the world’s most celebrated landscape architect right now – the man behind the engineering of the High Line, as well as the new Domino Park on the Williamsburg waterfront in Brooklyn. After six years of work, Kowloon’s Victoria Dockside – which has already taken significant shape and is scheduled for completion late next year – looks set to offer a new gold standard for urban planning.

Follow LUX on Instagram: the.official.lux.magazine

“The High Line was an epic success,” says Corner, without any hint of a self-congratulatory tone. “It is much-loved by people from all over the world.” At the same time, he sees the High Line as something unique to its Manhattan context, flanked by landmarks and the neighbourhoods of the Meatpacking District and Chelsea. It can’t, he believes, be duplicated. “Every city does seem to want its own High Line,” he says, “but other cities should better evaluate and imagine how public spaces can be designed for them that are authentic to, and resonant with, their own contexts. With the Hong Kong project, all we did was simply amplify the power of the existing context – improving accessibility, designing places to sit and linger, and provide shade. The new design will recall many characteristics of the old TST, while pointing ways forward to its future.”

The Mount Pavilia residential complex is part of New World Development’s Hong Kong portfolio

Corner first visited Hong Kong in the 1990s, the decade that saw sovereignty handed from the UK to China. If there was any worry that the handover would stem growth on the island, it was misplaced – this continues to be an electrifying hub of culture and commerce, developing at an incredible rate. Corner started work on the US$2.6billion, three-million-square-foot New World Development project in 2012, and has been visiting every 10 weeks since then. “The city has always appeared vibrant and cosmopolitan to me,” he says. “But even more so in recent years, especially now that it is actively shaping public access and space around the harbour front, investing in new cultural facilities, and prioritising liveable, walkable and sociable city space.”

Corner’s waterfront design includes lots of shaded areas

For years, the Avenue of Stars on the Kowloon waterfront has been on every tourist’s list of must-dos in the city. The statue of Bruce Lee here has been photographed as much as the light show that bursts into to life across the skyscrapers of the CBD on the other side of the harbour. But, as waterside thoroughfares go, it’s hardly up there with the pleasures of the Southbank Centre in London or Sydney Harbour. It was never somewhere you’d want to linger – particularly when heat and humidity hit typically intolerable levels. “We have improved access to shade with numerous trellises, trees and other canopies,” explains Corner. “The experience will be richly varied, fun and engaging – it is social, global, spectacular and at the same time humanising, fun and special.” Looking at renderings of it from above, it mixes inside and outside elements with graphic élan. It will redefine the look of the city.

Read more: Bruno Schöpfer, Managing Director of the Bürgenstock Selection, on the future of luxury hospitality

One of the many things that makes this project so different from other urban park commissions with which Corner has been involved, is Adrian Cheng, an art patron and gallerist as well as a developer. He has a unique fluency in the language of urban culture. While there’s already a fully operational 15-floor limestone-and-bronze office tower at the new Victoria Dockside (Mizuho Bank and Taipei Fubon Commercial Bank were two early adopters of the space), and a revenue-spinning hotel and shopping complex with a glass corridor at the heart of the masterplan, there will also be a sunken amphitheatre with curved glass walls surrounding it, and a constantly changing collection of public art on view. One of the first pieces to be installed when the project is finished next year will be Elmgreen & Dragset’s Van Gogh’s Ear – a swimming pool turned upright, deep-end down, originally installed at the Fifth Avenue entrance to the Channel Gardens at Rockefeller Center in New York City in 2016. It will, inevitably, be photographed with the same fervour as the Bruce Lee statue.

The 15-floor K11 Atelier office building is already open

The aforementioned shopping complex has its own cultural agenda. Christened the K11 Musea, it takes its name from the K11 Art Foundation that Cheng founded in 2010, and which he continues to head. Like the new Whitney in New York, it has incorporated numerous terraces into its design, which stops it looking like a hermetically sealed institution. Instead, the green layered spaces that punctuate the elegant, rounded architecture bring human and plant life to the skyline. The K11 retail complex will host live music, exhibitions and numerous other cultural events according to Cheng who, in addition to his cultural responsibilities in Asia, sits on the board of the Museum of Modern Art PS1 in New York and is a member of the International Circle of Centre Pompidou.

Hong Kong entrepreneur Adrian Cheng

“Adrian is a true visionary and inspiration,” says Corner. “He is of course a developer and his primary business is development for both retail and lifestyle, but his passion is art and culture, so he works very hard to bring richly textured practices of art and culture to his development projects. This is why he is so passionate about the outdoor public spaces – these are not simply frontages to his development, but more active platforms for social life, for civic engagement, public participation, art and culture. His vision is civic, generous and inclusive.”

Read more: Why you should be staying at the Park Hyatt Paris-Vendôme this September

Cheng’s other developments include The Pavilia Hill (pictured here) and Skypark rooftop clubhouse (above)

Landscape architect James Corner

As far as the dynamic of the public outdoor spaces of the new Victoria Dockside goes, there are valid logistical parallels with the High Line. “Like the project in New York, it is tightly dimensioned,” explains Corner. “But we were still able to provide spaces to sit, gather and look at views, and plantings to provide colour and shade, as well as water features and lighting for dramatic effect and art for social enrichment.” The two projects also share an issue in terms of the choice of the greenery. By its very nature (being essentially a raised, elongated platform), the High Line had a very thin allowance for soil. “We used a planting palette that is robust and attuned to those kinds of conditions,” he says. “The same is true in Hong Kong, where we do not have ample soil, but we do have stress from sun, heat and typhoons – so again we needed a careful planting palette with adequate maintenance and oversight.” The result will look perpetually fresh, green and inviting.

One may wonder for a moment, in a global city where every square inch has to wash its own face financially, what the quantifiable value of recreational space is. At a time when you can shop online and choose to work remotely, it may in fact be priceless. Traditional urban office and retail space is undergoing a global reboot, and Victoria Dockside is a particularly stylish example of the phenomenon. It offers a profoundly pleasurable experience. “Cities are economic machines,” says Corner, “and the new Victoria Dockside significantly improves economic value, while at the same time enhancing public space experience for everybody. Parks, squares, gardens, courts, terraces, promenades, waterfronts and so on, are fundamental to improving the liveability, sustainability and social equity in our cities. These are investments that only add value. It is a win-win – a transformation for both the economy and the people.”

View more of James Corner’s projects at: fieldoperations.net
Learn about Adrian Cheng’s K11 Foundation: k11artfoundation.org

The Four Seasons Hong Kong towers over the exclusive IFC mall complex in Central, the heart of Hong Kong, and has spectacular views over the water to the Kowloon side of the city

Why should I go now?

Summer is hot and steamy in Hong Kong and traditionally a stopover in this most exciting of Asian cities at this time of year involves spells of freezing inside air-conditioned rooms and baking while strolling the streets of Central in search of dim sum, art, or cocktails. Stroll out to the pool terrace of the Four Seasons, though, and you are greeted by a very refreshing alternative: two huge outdoor pools with an extensive terrace, made of beautifully carved marble, with views across the sea to the mountains of the New Territories. Ferries, speedboats and bigger ships waft through the harbour beneath you, and you are at once in the very heart of Hong Kong, and in a resort hotel on an island in the South China Sea.

Follow LUX on Instagram: the.official.lux.magazine

What’s the lowdown?

For further relaxation, turn left just indoors from the pool area and you are in the vast spa zone, where you get your own butler to tend to your every need and show you around (it’s easy to get lost between wet rooms and plunge pools and treatment suites and relaxation rooms). A tip: take your treatment in the evening, when the whole city seems to surround you with a light show reflecting off the waters of the Harbour. We do this just before setting off for the airport for our overnight flight back to London, and it’s the most spectacular way to get a treatment in any city we have seen.

The infinity-edge pool is equipped with underwater speakers

We also recommend getting a room with access to the Club Lounge on the 45th floor; this takes the concept of such a lounge to another level, with endless dim sum, afternoon tea, Ruinart Blanc de Blancs champagne on tap and a mesmerising view. You’ll have no reason to visit the hotel’s Blue Bar on the ground floor, which would be a shame as it is surprisingly funky – no old-style Four Seasons wood and leather here – although the view is at ground level.

The hotel’s two Michelin star French restaurant, Caprice

The Four Seasons is located at one end of the prestigious IFC mall and tower complex, meaning it also hosts two of the city’s (and by extension, greater China’s) most significant power venues for lunch and dinner, Lung King Heen and Caprice. We loved dining in the private room (with private chef) at Sushi Saito with some of the butteriest nigiri outside Tsukiji Fish Market.

Getting horizontal

Our bedroom looked out over the Harbour and Kowloon; at night you could stay up for hours looking at the lights, and this was a distraction as the capacious desk was located right by the window. The things we suffer in the name of research. Everything else was Four Seasons-correct, from the vast, bright, marble-clad bathroom to the huge bed and array of amenities.

Read more: Former Cognac warehouse becomes luxury hotel, Hôtel Chais Monnet

The luxurious bedroom in the presidential suite

Flipside

If there’s a summer storm, the rush for drivers and taxis outside the hotel and IFC complex in general can mean it’s a little congested outside; but you can, in fact, walk almost anywhere within Central Hong Kong from the hotel by strolling through a series of interconnected (and indoor) luxury malls.

Rates: From 4,092 HKD (approx. £400 / €450 / $500)

To book your stay visit: fourseasons.com/hongkong

Darius Sanai

Even luxury hotels in the world’s great metropolises, like Hong Kong, sometimes get it wrong, according to Geoffrey Kent

It’s surprising how often ‘luxury’ hotels get even the simple things wrong and lose precious booking revenue because of some too-common errors, says Abercrombie & Kent Founder Geoffrey Kent

I was 16 years old before I spent the night in a hotel. The Ambassador was one of the grandest hotels in Africa. It was a mecca for travellers who liked to be as comfortable as money could make them. Mr Perfitas, the owner, ensured that his hotel did luxury in the right way. Since then, both as a travel professional and someone who loves adventure, I’ve stayed in hotels, chalets, camps – every type of lodging – on every continent and in nearly every country on Earth. I’ve experienced all the good, the bad and the ugly that hospitality can offer. Here’s how even the top luxury hotels can get the basics of hospitality so very wrong.

Charging extra for wifi

Wifi is frequently the highest rated in-room amenity. Like many businesspeople, I’m on the road for the vast majority of the year. I’m reliant upon technology to allow me to run my business whilst travelling and I don’t want to have to pay additional fees for wifi in hotels. Some hotel brands have even been fined for blocking personal connectivity devices so that travellers are forced to fork out if they want access to the network.

Follow LUX on Instagram: the.official.lux.magazine

Interestingly, hotels at the lower end of the market have always gotten wifi right, guessing that to win business travellers on tight budgets, they’d have to offer complimentary connectivity and it wasn’t unheard of for hotels within the same brand to have differing policies on wifi charges. Thankfully higher-end properties have spent the last few years getting with the programme, and free wifi is becoming de rigueur.

In 2014, the president and CEO of Loews Hotels and Resorts, Paul Whetsell, stated that he didn’t think it was “sustainable to keep charging” for wifi, scrapping the $14.99-20 a day charge his properties had been asking guests to pay.

Hidden fees

Hotels shouldn’t be charging for all the extras: parking fee, resort fee, gym fee, early check-in, late check-out, an energy surcharge, luggage holding, etc., etc. And please don’t get me started on ludicrously expensive buffet breakfasts. The mark-up on granola is enough to suppress even the heartiest appetite.

Complicated in-room lighting systems

In-room lighting systems must be wonderful fun for those with engineering degrees I’m sure, but for the rest of us attempting to find the switch to turn off that one light which defies all efforts to make it go dark is infuriating.

Hotels should also make the lighting smarter to guests’ needs. If feet hit the floor in the middle of the night, chances are someone needs to use the facilities, the lights should illuminate the way subtly without waking all occupants.

Read more: Why you should check into La Réserve hotel, Geneva this spring

Unreliable showers

Over the years, hotel showers have changed for the better. Sea-views, desert-views, glass feature walls, multiple heads, custom-built benches, built-in sound systems, I love that hotel showers now feature tech-savvy touches and that there isn’t a clingy plastic curtain in sight. However, no one wants to stand there alternately freezing and boiling, under a trickle or tidal wave, while they attempt to work out the pressure and heating settings.

A private island resort is less magical with an intrusive butler, according to Geoffrey Kent

Lack of power sockets

There should be easy to access outlets so that guests can charge devices on the bedside table and don’t have to crawl under any furnishings to find a plug. Or, even better, hotels should consider furniture with in-built charging facilities. After all, even Ikea stocks products that contain integrated wireless charging.

Read more: Richemont launches debut watch brand, and it’s sustainable

Intrusive service

Butlers should appear as if by magic to grant my wish for a cold beverage or a hot snack. Having a butler should make a stay feel flawless, not make guests uncomfortable.

Badly stocked (and expensive) mini bars

Mini bars should be stocked with a variety of healthy snacks and guests shouldn’t be charged to restock it (another hidden fee). Many forward-thinking resorts are now making the mini bar contents bespoke, and complimentary – in my view that’s the way forward for luxury.

However, not all properties forget the basic rules of hospitality. Hotels that I believe are exceptionally good include The Peninsula Hotels in Paris and Hong Kong, the Mandarin Oriental New York, and Il Sereno, a new property on the shores of Italy’s Lake Como.

All offer complimentary wireless internet access as standard. The Mandarin Oriental even advertises its free wifi on its Google search page title. A stay at one of these hotels exemplifies how hotels get luxury right, seamlessly.

Read more of Geoffrey Kent’s exclusive columns for LUX here

Dr Johnny Hon

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

LUX Editor-at-Large, Gauhar
Kapparova

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

johnnyhon.com

The Giant (Le Géant), 1937. Paul Nougé (poet and founder of surrealism in Belgium) on the Belgian Coast by René Magritte. Courtesy Brachot Gallery, Brussels

Whilst René Magritte is best known for his surrealist paintings (such as the haunting image of the floating apple in ‘The Son of Man’), his photography and film are crucial to understanding the Belgian artist’s creative process and perspectives.

Follow LUX on Instagram: the.official.lux.magazine

In partnership with the Magritte Foundation Belgium, Swire Properties and Ludion, a European independent art book publisher, the latest exhibition at ArtisTree in Taikoo Place offers visitors a glimpse into Magritte’s private life with a display of intimate photographs from his daily life – including images of family, friends and other important figures in the Belgium surrealist movement – as well a collection of home videos that were only discovered in 1970s, more than ten years after the artist’s death.

La Clairvoyance, 1936. René Magritte. Courtesy Collection Charly Herscovici, Europe

Most intriguing are the sections which reveal Margritte’s own efforts at recording; as in the above image (‘La Clairvoyance’), Margritte often photographed himself with his paintings, revealing his self-conscious attitude towards his role as an artist and a manipulator of the gaze, whilst also making fun of any pretences at artistic seriousness.

Read next: Israeli poet Eran Hadas’ creative algorithms

The Oblivion Seller (La marchande d’oubli), René Magritte, 1936. Courtesy Collection Charly Herscovici, Europe

Similarly, extracts from Margritte’s films demonstrate his continual thirst for experimentation and search for new forms of expression (at the time, film was a new and relatively unknown medium); in the artist’s own words ‘Everything we see hides another thing, we always want to see what is hidden by what we see.’ The exhibition might not unmask the hidden, but it certainly adds layers to our understanding of one of the most influential surrealist artists of the 20th century.

Millie Walton

‘René Magritte: The Revealing Image – Photos and Films’, runs until 19 February 2018 at ArtisTree, Taikoo Place, Hong Kong

Wendy Yu flies between London and Hong Kong for her businesses on a regular basis

Wendy Yu is an entrepreneur and philanthropist, and the founder and CEO of Yu Capital. With investments in China and Europe in fields as diverse as transportation and sustainable fashion, Yu is a visionary – with a penchant for dresses. As the youngest member of the British Fashion Council board of trustees, founding member of the Victoria and Albert Museum’s ‘Young Patrons Circle’ and heir to her family’s business Mengtian Group (China’s leading wooden door manufacturer), she is a Renaissance woman par excellence. Kitty Harris chatted to Yu over an English breakfast in London about her new group, Yu Holdings, sustainable impact investment, and her healthy obsession with ball gowns.

Wendy Yu

LUX: Your father runs the Mengtian Group and your mother is a successful private investor. What are the most important lessons you learnt from them?
Wendy Yu: Resilience and being determined. I think my dad is a dreamer, but he is genuinely determined and I really like that. He built his business from scratch and I think he has encountered a lot of hardships during his lifetime, but he never quit. He is always so passionate, determined and relentless about what he is going to achieve.

Since I was young, I have had the mindset that if I want to achieve something, I will find any possible way to achieve it. My dad has taught me about the ‘win-win’ mindset, that in everything you do, if you want to keep it sustainable, you have to not just do it for yourself, but also for others. Before I came to study in England, when I was fifteen, he had this really long talk with me. He said “there are three qualities that I want you to have in your life. First of all, to be a loving person. Secondly, always to fight for the better version of yourself and always think about how to improve yourself. Thirdly, never be afraid of hardships and be relentless about what you want to get.”

Follow LUX on Instagram: the.official.lux.magazine 

LUX: As vice chairman of the family company is there ever any tension when working with family members?
Wendy Yu: Yes, absolutely. I am a very logical person, but sometimes with family business it can get too emotional when you have different ideas to each other. My dad is a very solid entrepreneur, but he is very Chinese. When he comes to England, he doesn’t eat British food and will only eat Chinese food. He loves spicy, authentic hotpot only at home. I think there is definitely tension, because there are so many big personalities and strong characters. But, at the same time we have bonded with each other and we just want the best for the company and the best for each other.

My dad is very happy with the company being one of the biggest manufacturers in Asia and China and he is happy with the brand. He is happy to make the most out of the Chinese market, because it is so big. My vision is really to expand my family business and legacy globally and to create a solid and well-established international company and brand. My education and experience in England, since my teenage years, has given me opportunities to grow up with both eastern and western mentalities and perspectives; that is where the conflict lies sometimes. Very recently I have restructured my company, Yu Capital, and the main entity will be based in Hong Kong. Under Yu Holding, there will be Yu Capital, Yu Culture and Yu Fashion, because I’ve realised so much of what I do is not just the investment. There is philanthropy, cultural exchange and fashion collaborations.

Wendy Yu at The Fashion Awards 2016.

My vision is to connect investments with the innovation and creativity between the East and the West and I feel that Yu Holding will be a better entity than Yu Capital to be strategic about engagement with these sectors. I usually divide my investments into financial investments and strategic investments. Yu Capital would be more focused on financial investments, that is on the technology side like Didi, the Chinese taxi app, and Tujia, China’s home-rental website and hedge funds.

The strategic investments would be in fashion, cultural exchange to support the museums and the art world, to connect art between the East and the West. Those are two of my big passions and I feel I can say that ninety percent of the time, I spend time on my own business: Yu Holding and Yu Capital. I feel the pressure that no matter what I do and how well I do within my family business, my dad will always be the person saying yes and no. I am like my dad, as I like having the say of what direction to go in. I think he will be proud to see what Yu holding is going to achieve in the next three years and I can prove that my vision isn’t bad or limited , because I want to do things globally, not just in China. I like being independent and I think it would be a waste of my experience and education here if I don’t connect the world with China.

Read next: Salvatore Ferragamo on family prestige and Tuscan indulgence

LUX: It sounds like your business is global, so it isn’t aimed at any one territory. Is that right?
Wendy Yu: Yes, that is absolutely right. I have two partners who stay in Shanghai and they come from very solid financial investment backgrounds, one of whom is my cousin. There is still a bit of family force there but that is to make sure that I don’t do anything crazy. Yu Holdings is really my vision and my two partners are amazing. They love that I am creative and pull off different business deals. They love the idea that I’m a great matchmaker. I am good at spotting and sensing which two companies or parties will potentially have great synergy and to be the bridge that joins them.

LUX: Is part of the plan to set up a luxury group?
Wendy Yu: Absolutely, but it would be in ten years, because I think I am at the beginning stage of my career. I think I leave my mark on everything I do, and it is important that the projects are commercially successful as well. With my strategic investments, I put less money in, but I have the presence and we help each other. I have a team doing the portfolio management for me, but at the end of the day, I am the one that is making the decisions. I think after you’ve done all the due diligence and risk assessments you have to go with your heart.

LUX: Why was it important for you to be involved in the Young Patrons Circle at the V&A?
Wendy Yu: I was invited to be the founding member of the Young Patrons Circle; they know I support a lot of different museums and art galleries, so it seemed natural that they asked me.

Sian Westerman, Caroline Rush (Chief Executive of the BFC) and Wendy Yu

LUX: You’re the youngest patron of the British Fashion Council (BFC) Trust – what does your role involve?
Wendy Yu: I joined a while ago and through the BFC platform I get to meet a lot of designers and learn the challenges they have encountered. I have become friends with a few of them and we have bonded. I support them by introducing them to all of my friends. I love to support women and the people I like, with no other intentions. When I think a girlfriend will like their work, I just introduce them to each other. It is a win-win situation for both of them and I take no commission! My family really believes in karma and I think that in the long-run, if you support people they will support you back. I usually get along with two types of people. One type is very creative (designers and artists) and the other type is those in the finance world. I think there are two parts of me, one is very geeky and numerical, and I love to be creative and to think outside of the box.

LUX: How much input do you have in your different investments?
Wendy Yu: I am tremendously involved in them. I am very hands-on and I chat to people for specialised advice. Usually, we have around one hundred deals to look at over a year. Normally, I have a sense of whether a deal will work or not. We do a very careful analysis for around thirty of them. Then, I look at the report and certain things I will naturally feel are great. For example, for Didi and Tujia I knew instantly that it would work, but I still asked them to do the analysis. Decisions have become relatively quick and we made both deals over a period of two months and they are big investments. But, with fashion investments, I have to get to know the designer on a more personal level. It is generally a smaller investment and I know it is not purely financial. My financial adviser will write the report listing the pros and cons, since it is a strategic, impact investment. When I invest in something, before I make my final decision, I think, ‘what is the worst thing that could happen?’ Of course, you should also consider what is the best thing that could happen, but if I can take the worst thing that could happen, then I am happy to do it. Bottletop was one of my first investments and I am very happy with it, even though I didn’t get any return from it. I love the idea and I think the two founders, Cameron Saul and Oliver Wayman, are amazing entrepreneurs. What they are trying to do (recycling bottletops to make accessories) is great and they are supporting women in Africa and Brazil. They are growing quite fast and at a steady pace.

LUX: What is the typical timeframe to hold and sell an investment?
Wendy Yu: When I first started, I invested at a very early stage. Later I realised that’s not my favourite type of investment, because you hold it for so long. What I really like are pre IPO investments. I really like opportunities like Didi and Tujia – large companies, because I believe those companies are really shaping our world, or shaping China at least. I love being part of the change in many ways and in terms of the financial return, for example the Didi deal, I got a 47% return over a 14-month period of time, which is great. You don’t really get that from the fashion brand. I invest through a fund and we sold part of our shares already. With hedge funds, it is very calculated. You would only put a few million in and the return could be over 100% each year, but it varies because it fluctuates over time. You could make a loss of 20%, or you could win 100%. That’s why you need to invest in different hedge funds. I am very involved and I am very passionate about it, because naturally I love numbers and I am very excited by them and I love creativity.

Dinner in Hong Kong, working breakfast in London

LUX: How do you think the investment market is going to change in the next ten years?
Wendy Yu: I think China and Asia, the emerging market, is extremely exciting. But, having said that, I think that you have to really value your opportunities carefully. I have noticed that a lot of investments that are making great returns are in China. It isn’t really happening in London. I think European or American investments, are very strategically relevant with what I want to do and achieve. It is a great value investment over the long-term. In the Chinese market, it is a great financial investment over a certain period of time. I am now also starting up a joint venture with my French partner Kacy Grine, who is an incredible capable and intelligent French banker, he was serving as an adviser of the former French President and has been a long time personal advisor Prince Al-Waleed, who is the biggest investor of Saudi Arabia. We are setting up a joint venture. We feel it is the time to connect the foreign giant technology companies or foreign brands in China and to do the matchmaking with you in the West. The Chinese companies want to go global and the global companies are interested in the Chinese market, but they really want to find the right partner and we are of value in this matchmaking process.

LUX: When you do the matchmaking, you obviously add value to your partners, but how do you benefit from it?
Wendy Yu: It varies from case to case according to the level of our involvement and the deal structure, but we generally act as their advisors and matchmakers.

Read next: Priya Paul of The Park Hotels on balancing innovation and heritage 

LUX: In terms of sustainable investment, are you looking to be more sustainable in your investments?
Wendy Yu: Absolutely. I think my philanthropy investment and impact investment is very sustainable. I am trying to balance it out. A while ago, I studied at Oxford Saïd Business School while they were doing an impact investment programme, I was very inspired. I realised that when you pass away, you don’t leave anything. You only leave the good things you have done. I think until I reach a certain level in my career, I want to pledge the majority of my wealth to the company. I don’t want to keep it all, honestly. What Bill Gates and Warren Buffett have done is wise. I don’t want to hold on to so much. I want to enjoy life for sure, but one of my missions is to do things worthwhile that I’m proud of. I want my family to be proud that I am leaving something meaningful and sustainable, that will stay there for a long time.

Ethan K x Wendy Yu handbag collection at Harrods

LUX: Tell us about the inspiration behind the Ethan K x Wendy Yu handbag collection at Harrods last year…
Wendy Yu: We have been friends for a while and I’ve bought from him. He probably likes my energy and I like his energy. Just like with Mary [Katrantzou] and my other designer friends, we like each other’s energy. They inspire me and I inspire them. I always give them crazy ideas that they love. He said, ‘let’s do a Wendy Yu bag.’ I go to a lot of events, but during the daytime I’m working. I was thinking about a bag that I can use for nighttime and daytime and that is why he designed a bag for me that is very versatile. His clients are Hermès owners, or people who have bought a lot of different bags and they are kind of bored and now they want something bespoke. Ethan’s family had tannery at the back of their home, so he has the experience of doing a bag in crocodile skin that is boutique too.

The Wendy Yu butterfly piece by Anna Hu

LUX: How did your love of fashion begin? You have an impressive evening gown collection – do you have a favourite dress?
Wendy Yu: My love for fashion began at very young age, when I was little I enjoyed playing with and collecting Barbie dolls, then I started to collect fashion magazines when I grew up. I love to be constantly surrounded by inspirations and creativity of all kinds. In terms of my favorite dresses; I have two. Mary Katrantzou recently did a bespoke gown for me to open the exhibition ‘Creatures and Creation’ at the Waddesdon Manor. Anna Hu also did a bespoke ring for me and named it a Wendy Yu butterfly piece. Mary did the dress in ten days – can you imagine? We did the last-minute stitching on site. The other one is Giambattista Valli – he did two bespoke gowns for me when I did an international debutante ball in New York. He did it in about three weeks. I am really into dreamy, crazy gowns!

yu-capital.com

The Excelsior is a cathedral to modern tourism and business travel

Luxury hotels are not all about marble bathrooms and art in the corridors: without perfect service and functionality, a luxury hotel is not worth the title. Darius Sanai holds up Mandarin Oriental’s Hong Kong behemoth as a case study – technically, it’s not a luxury hotel, but the experience should be an example for all hoteliers on how it’s done.

The idea of staying at a Mandarin Oriental hotel conjures up a dreamy vision, a blend of eastern exoticism and richness of service. And this dream is generally an accurate predictor of what you’ll receive in the only luxury city hotel group that, for me, perfectly combines the style and individuality of a boutique private resort group with the functionality of a major luxury chain.

‘Functionality’ is probably not a word that appears in Mandarin’s, or any group’s staff manual, but it’s a key element of a top hotel and one that is overlooked too easily. I have stayed in boutique hotels whose bar staff don’t know what a cigar cutter is; design hotels where room service breakfast looks like something on a second-class train carriage; style hotels where the concierge forgets your restaurant reservation and today’s front office staff have no idea about the detailed conversation you had about your needs with yesterday’s front office staff. An adaptor for your European plug? Sorry, the guest who borrowed it last week didn’t bring ours back.

Follow LUX on Instagram: the.official.lux.magazine

I’m ok with having an orange sofa in the shape of a banana in my room; I’m delighted to find an oxygen machine and green juice in my minibar, it’s fine that the person showing me to my room is an easy-on-the-eye Instagram star, but when I travel, and I suspect I speak for a fair number of LUX readers here, what I need is functionality.

This is different to being able to process eccentric requests, or to having a fleet of Teslas to show your green credentials. Functionality is boring, and it makes the world go round. If I call on my way in from the airport and order dim sum in my room at precisely 6.30pm that night, it needs to be there; I don’t need to have to call at 6.45pm to be told, oh sorry, there’s no dim sum today, would you like anything else from the room service menu? The adaptor – already in the socket. Housekeeping needs to speak English and know the answer to a question about dry cleaning delicates without promising to call me back – I’m talking to you now, I don’t need to talk to you again. Room service should remember my breakfast order from yesterday so I don’t need ask all over again about gluten-free toast and no lemon in the water and do you have any sliced grapefruit, no, not juice, sliced actual grapefruit. The person who answers the ‘At Your Service’ function on the phone really does need to know everything about the hotel – it’s not at my service if you have to be a broker between me and the rest of the hotel.

Read next: Searching for serenity in the Nepalese Himalayas

Staff need, in general, to know not just about what you are asking them, but every element of the hotel, so the host in the French restaurant on Floor 2 is clued-in that you have a car for the airport at 9.30pm and the staff there already know to serve dinner in time, while the concierge has already had the bell boy pick up your bags (and return the adaptor to reception so they don’t add a charge to your bill).

Which brings me back to Mandarin Oriental hotels. All the ones I have stayed at, from Hong Kong to New York, score high marks in this kind of functionality. Not unusual – a minimum requirement for a luxury hotel, and one which is shared by competitors like Four Seasons and Ritz Carlton.

There is a hotel that appears in the Mandarin Oriental portfolio, though, that doesn’t bear the brand name. The Excelsior in Hong Kong is part of the group, but not; it’s just called The Excelsior, and doesn’t share the luxury status or accoutrements of its more illustrious sisters. It’s a good bit cheaper, as well.

A Deluxe Double Room at The Excelsior

I have just bid The Excelsior farewell for the last time. I had a three-year advisory contract with a Hong Kong-based client, whose company booked me into the Excelsior for all of my four-to-six-time-a-year stays. Having, on previous trips to Hong Kong, stayed at the Mandarin Oriental, its sister hotel the Landmark, and other luxury citadels like the Four Seasons and Upper House, I have found myself staying in The Excelsior for something like 15 times over the last three years, for nearly a week at a time; that’s more than 90 nights, enough to get to know a place, or get weary of it.

The sole sub-luxury hotel of my global itineraries for LUX, my luxury consultancy Quartet Consulting, and my other employer Condé Nast, the 848-room monolith, at the ‘wrong end’ of Hong Kong to the financial bustle of Central, with its plethora of groups from mainland China, should have stood out as a step down, a place to be endured, perhaps even complained about to my client. One colleague did complain: a creative director who travelled with me once took one look and instantly changed addresses to a boutique hotel, which turned out to have paper-thin walls and chaotic service, but which had Tom Dixon light fittings.

Read next: Fine artist and model, Orla Carolin on modelling’s need for greater equality 

The Excelsior is a cathedral to modern tourism and business travel. Thousands seem to flow through its two facades every day. Its rooms are homage to the era when hotel rooms weren’t really designed; the bathroom’s on your right (with a shower in the bath), the safe’s in the cupboard on your left, the desk is in front if you, and the bed’s over there. To walk into my room (2422, usually) after the 12 hour flight from London should have been to be hit with a wave of mundane gloom: my functional home for the next six days.

But I rather loved the Excelsior. My room, like most others (I never received special treatment there) looked out over the harbour to Kowloon, and past to the mountains in China, with that spectacular and unique mix of commerciality, romance, urban ugliness, urban beauty, noise, light and possibility that Hong Kong epitomises.

My flight would touch down at 5pm on a Sunday night, and, arriving at the hotel around 7, I would get changed (a shower in a bath is fine) and walk outside into the neon-lit streets. The crazy signs and lights of the Laforet stall, the crowds of shoppers at any hour, the shops on the Lockhart road selling Chinese roots and beauty products and barbecued chicken and technicolour drinks; these were an instant hit of Hong Kong, unlike anything you will receive in the sanitised central business area a mile or so away.

I would then walk back to hotel for dinner at Yee Tung Heen, the Cantonese restaurant on the second floor. A formal, sophisticated, old-fashioned place with white glove service and tablecloths and a vast menu of traditional Cantonese dishes, it is apparently a favourite place for a treat for local families – and appears absolutely nowhere on the fashionable tourism agenda. Bare sharing tables, fusion offerings, Cantonese cocktails – all are on offer elsewhere in Hong Kong, but Yee Tung Heen has extreme comfort, peace, an excellent wine list, and superb food. From the boiled peanuts which I dipped into the homemade XO sauce as a pre-starter, to the steamed garoupa with ginger and lime, to the citadel of Chinese mushrooms, this was the best food I had in three years of being shuttled around Michelin-starred restaurants in Hong Kong.

ToTT’s bar has the best views of Hong Kong from the roof terrace

After dinner, jet lagged, knowing this would be my only night “in” during my stay, I’d ask for the rest of the bottle of Riesling to meet me at the rooftop bar, ToTT’s. It inevitably got there before I did, a table would be waiting and I would sip a glass and marvel at the best view of Hong Kong from anywhere: 34th floor, with a precipitous view of both the city and Kowloon across the water, and the canyon of lights leading away through anonymous forests of blocks into the eastern distance.

“Room Service, Wendy speaking, how can I help you Mr Sanai, would you like the same as usual?” – how did Wendy remember, or care, among 848 rooms, with my several week period of absence each time, about the jug of American coffee, empty bowl with spoon, sliced apple and orange, and Welsh sparkling water (not the revolting San Pellegrino)? How did the entire concierge and front desk staff always know exactly when my limo for the return to the airport was booked? How did it all link up in such a vast hotel with its streams of bemused and voluble first-time tourists?

My theory, though I can’t be sure, is that the Excelsior is a kind of test-bed for Mandarin Oriental’s staff: if they can operate at peak standard at the Excelsior, they can do it anywhere.

It’s a rare anomaly of a hotel where the service is super-luxury and the rooms are barely above three-star (a recent refurbishment stripped them of their most attractive element, 1990s-retro oak panelling and desks that ran the length of the walls, replacing them with forgettable florals and whites). And I’ll take it that way anytime. The Excelsior may never be a LUX Hotel of the Month – not unless it is knocked down and rebuilt, as the old Intourist in Moscow gave way to the new Ritz Carlton – but every luxury hotelier should pay a visit to see how hotels ought to operate.

mandarinoriental.com/excelsior/

The Ritz Carlton starts on the 102nd floor and only goes up from there

Why should I go?

March sees the arrival of the international fine art circus and party known as Art Basel in Hong Kong. While the Asian edition of the fair is not as lofty as the original in Switzerland, and less sexy than the Miami version which sweeps together America’s top collectors, gallerists, and wannabes every December, it is growing steadily in stature and is Asia’s premier art fair.

The world’s highest bar: Ozone

What’s the low down?

It’s actually a misnomer to say the Ritz Carlton, Hong Kong, is in Hong Kong. Sitting on the open terrace of the “Ozone” bar on the 118th floor, sipping a Tanqueray Ten Martini to steady our nerves, our view looked down onto the tops of clouds, with a dreamy orange glow. Closer inspection revealed a city and water far below the clouds. We were viewing Hong Kong’s landmarks as if overflying in a military drone: Ozone is the highest bar in the world, and the Ritz Carlton Hong Kong is the highest hotel in the world. Rooms span the 102nd to 108th floors, and the hotel is really located above Hong Kong. Like a mountaintop, the temperature on that terrace is a few degrees below that on the ground, a welcome break from the summer heat.

Read next: The largest David Hockney retrospective to date

Getting horizontal

Our bedroom had light taupes and greys balanced out deep mahogany wood finishes. It was classic-modern Ritz Carlton, with the service touches they do so well: a good balance between too much service (where in some luxury hotels you expect a butler to pop out of the bathroom cabinet to rinse your toothbrush for you), and overcasual, where an establishment tries, and fails, to be Soho House. Staff were professional, efficient, human (a mix of young European hotel-school pros and effortless stylish Asians) and didn’t jump out of cupboards to ask how our stay was going.

The Carlton Suite

Flipside

The hotel is located on the Kowloon side of Hong Kong, which has its own attractions but is a 15-minute cab ride away from the central district. And it’s definitely not for those with vertigo.

Rates: From $7,600 HKD per night (approx. USD $1000/ €950/£800)
Darius Sanai

Art Basel Hong Kong, March 23-25

ritzcarlton.com/hongkong

By Darius Sanai
Editor in Chief

Ozone at the Ritz Carlton in Hong Kong, the highest bar in the world, has a long row of bar stools along its floor to ceiling picture window. You settle on a stool, place your Mojito on the counter in front of you, and stare out at a view of… nothing much. Where is Hong Kong? You lower your sights and, far below you, is a meandering stretch of water lined by buildings. The city that takes your breath away with its architectural glamour from the ground is now so far beneath you, from the 118th floor, that it almost loses impact; I was reminded of looking at Paris from a helicopter once, and pondering that human achievement needs to be appreciated at the scale it was created on.

Why do we so love views, and in particular, bars with views? From London’s Shard, you can gaze down from any of three lively and extensive bars at sweeping views of the city, from floors in the mid-30s: a perfect height for admiring a low-rise city like London. In Dubai, you can head to the Burj-al-Arab’s top-floor bar, and perhaps you will be as disappointed as I was at the tawdry collection of plump men and sad Russian hookers desecrating a surreal vista over the inky Gulf. The Rainbow Room in New York is still the most atmospheric bar with a view in the world, wearing its Jazz Age history on its sleeve (and try drinking Martinis there during an electrical storm for a genuine out of body experience).

Read next: Colombia’s quiet renaissance 

And perhaps that – slipping out of reality – is why views and bars are so intimately attached. For these watering holes are all in the middle of man-made firmaments, cities aching with crowds and claustrophobia and high anxiety; just as a Beluga vodka Martini provides an escape from the everyday, so does a vista stretching along, above and away. Together, they are an irresistible combination.

And so it was at Ozone. Slowly, the eyes adjusted to the relief map of Hong Kong spread out far below. Even in the gallery facing oblivion, the lighting was (correctly) kept low, so you could start to pick out ships and landmark buildings. The crowd was lively: low on suffocating young gents in finance talking about money markets, high on a blend of skin colours and nationalities, out for fun, not for expenses. And, as a slightly disingenuous counterpoint, Ritz Carlton levels of service, which you somehow don’t associate with somewhere so…groovy. Cocktails and champagne whizzed through the crowds with old-fashioned efficiency and deference. My Moscow Mule was refreshing and long, made even more revitalising by a cool breeze blowing in from the open roof. At 490m altitude, it was a discernible couple of degrees less hot than Hong Kong below.

Read next: Investing in a Porsche 911 Turbo

You exit Ozone via the lobby of the Ritz, a surreal interlude of calm elegance, and outside, suddenly, Hong Kong towers over you again.

If Ozone looks down at the view, Aqua is the view. This spot, a kilometre or so from the Ritz, is on the 30th floor, some 88 floors below Ozone. Also in Kowloon, the fast-emerging half of the city across the water from the historic centre, the city centre of Hong Kong – known to locals as Central – is a bristling wall of multi-coloured towers. In the foreground, fishing boats, ferries and old Chinese junks chunter through the water, which is multi-coloured, from the reflections of the buildings facing. It is the urban equivalent of being in the heart of the Alps, except instead of glacier whites and granite greys, green, pink and silver neon light up the cityscape facing you and the water below.

If you can take your eyes off the view, you will note that Aqua takes its cocktails and food quite seriously. Less of a party spot than Ozone; more of a place for an aperitif that turns into a thoughtful dinner, with good friends. The Moscow Mule here packed a punch, with real ginger and a dab of mint, and one of my favourite vodkas, Ketel One, still made in an old gin pot still. It adds texture and class.

The chef’s selection of sushi came with an instruction not to ask for wasabi as it mars the flavour; the lobster, wagyu beef and toro nigiri were indeed delicate, buttery, nutty, gentle. For all the correct international conversation about human beings desecrating the planet, and the follies of modern urbanity, an evening at Aqua may lead you to conclude that humans are still capable of adding beauty, soul, and delight to the world. And that this bar high in the heart of Hong Kong is one of the very best places to appreciate that.

Meanwhile, a good friend tells me that the bars on the other side of the expanse of water are less spectacular, but more edgy. To be continued..

Ozone, Ritz Carlton, Hong Kong ritzcarlton.com; Aqua Spirit, Hong Kong aqua.com.hk

Art Basel Hong Kong is trying to create the same buzz for Asia’s burgeoning collector scene as its parent fair, Art Basel, does in Europe. MAGNUS RENFREW, director of Asia for Art Basel, explains the challenges involved in a fluctuating Asian art market

Over the past six or seven years, the Asian art market has developed considerably. Historically, the market had been quite auction driven, particularly between 2006 and 2008 when there was a sudden big increase in interest for Chinese art. There had also been a lack of curatorial and critical frameworks, which the market had moved to replace. The perception was that an expensive work must be important, which is somewhat back to front.

Marnie Weber – Log Lady & Dirty Bunny, 2009
Simon Lee Gallery

However, in the last few years, things have changed. The turning point came after 2009 when the prices dropped for some of the artists that had been doing well at auctions. Those artists had adopted the attitude of “make hay while the sun shines” and worked with many different galleries, sometimes consigning works directly to auction.

Artists and collectors have grown to appreciate the importance of the gallery system and its role in promoting the practice of artists, not just selling objects. The galleries we are interested in build the career of the artist for the long term, not just to make a quick buck. They have an agency role to protect the interest of artists for the long term, ensuring there are not too many works going out into the market, that the quality of the work is consistent, try to help put their work in major institutions and institutional shows like biennales and finally try to sell the work to genuine collectors, not speculators.

I think that the art market is far more sophisticated now. It isn’t just about buying a big name artist, but the right period, the right subject matter and purchasing an artist that is growing in critical and curatorial stature. Asia is a very dynamic environment and it is an audience that learns extraordinarily quickly. There is a new generation of collectors who really want to collect from galleries and are passionate about collecting, rather than investing.

artbasel.com/hongkong

One and J. Gallery – One of the first galleries to focus primarily on young contemporary Korean artists

Laurent Grasso
Visibility is a trap, 2012
Edouard Malingue Gallery

Susumu Koshimizu – Paper, 2013
Gallery Yamaki

‘Paper Rain Parade’
Hong Kong artist Angela Su performs during Art Basel
Hong Kong in 2013

Doug Aitken – You/You, 2012
303 Gallery

Melora Kuhn – Her permanent mark on him, 2014
Galerie Eigen+Art

Antony Gormley – Feeling Material XXXV, 2008, White Cube

Brindisa in London’s Borough Market

It may not have the adrenaline rush of free falling from an airplane but for our columnist there is nothing quite as thrilling as making a new culinary discovery – Stacey Teo

Travellers today are given the choice of dozens of kinds of adventure holidays. For me though, instead of zip lining over a 300-foot gorge or swimming with great whites, I like my adventures served to me on a plate. There is a real excitement in trying a local dish for the first time or discovering a new flavour.

In my wanderings I’ve stumbled upon some excellent places. I will never forget, and still long to return to, a busy little stall in Bangkok’s Otoko Market for their perfectly grilled Mekong River prawns. I had another memorable experience many years ago on a trip to Hong Kong where I discovered some of the world’s best egg tarts at the Tai Cheong bakery.

Those were lucky moments. Really special finds like those have been rare. In between I’ve had my share of dreadful food experiences. I know I can limit the risk by picking up a guide, and there are a lot of good ones out there, but I have made it a personal rule to go by word of mouth instead. Of course this doesn’t included big name, award winning restaurants. I don’t need a guidebook for that. I normally reserve a Michelin star, or two or three, before ever packing my bags. No, what I’m interested in finding are the places that only the locals know. Finding these little gems is the kind of adventure I want in my travel.

Basically wherever I go, I am in search of the rustic fare that forms the base for that destination’s cuisine. As a chef, I know that in order to appreciate the flower one must understand the root. Ferrán Adrià’s brilliantly deconstructed tortilla means nothing to anyone who has never had a slice of the humble Spanish potato omelette.

One of the advantages to working for a company with a multinational staff is that, without leaving the office, I can get great insider tips on local restaurants that normal tourists would never find. Before I set out on any journey I ask around to get a few pointers and now that I have a pretty good idea of whose culinary instincts to trust, the system works like a charm.

This is how I ended up at Mak’s Noodles in Wellington Street, Hong Kong. I’d been in the city countless times but it was thanks 01 to a co-worker that I enjoyed one of the best plates of wonton noodles I’d ever had. Thanks to another recommendation I also had one of the best pizzas in my life at a place called L’Antica Pizzeria Da Michele in Naples where the Condurro family has been making pizza since 1870. Five generations later it is no longer a tightly held secret, especially since Julia Roberts in the film Eat, Pray, Love ate here, but the two types of pizza they serve (Neapolitana and Margherita, that’s it) are out of this world and the plainly decorated dining room still has a very local feel to it.

One sure sign of food globalisation I have noticed recently is that I am no longer being recommended just the fish and chips in England or the tacos in Mexico. Like my office, the food world has gone international and I am just as likely to hear about a good paella in Washington DC as a fantastic burger in Madrid. A recent trip to Paris was highlighted not by the French food of a famous chef, although there was plenty of that too, but by the falafel served at Chez Marianne followed by a sorbet at Maison Berthillon.

Spicey chorizo sandwich from Brindisa

Before my last trip to London a colleague steered me to a little place called Brindisa in the Borough Market where I had a chorizo roll served with rocket and roasted Navarrico Piquillo peppers. I had to wait out the 20-minute queue that snaked its way into the market (I had been warned) but the smoky intense flavour of the barbequed chorizo was well worth it and probably just as good as anything I could get in Spain.

Next up? A colleague from Montreal who insists there are two stops I simply must make if I’m ever in the city. One is to a humble little establishment called Patati Patata for an order of what she says are the very best fries in the world. The secret apparently is to use a little basil in the frier. The other is to Schwatz’s deli for a thin sliced pastrami sandwich. Normally I’d choose New York for my Jewish deli sandwiches but I’ve dined with this woman numerous times. I know her and trust her taste, so I’ve promised myself that if I ever make it to Montreal I will make time, and room, for both.

A couple of years after The Arts Club shook up London’s already buzzing members’ club scene, Hong Kong is getting its own world-class den of artistic cool. Duddell’s is a new type of space for the city, with its laid-back interior design by Ilse Crawford (of Soho House fame), impeccable arts credentials courtesy of Yana Peel, co-founder of the Frieze Outset Art Fund, and ahead-of-the-curve founders. Alan Lo and hyper-restaurateur Paulo Pong are among the dream team behind the venue in Central, near all the best galleries. And the presence of Pong, one of Asia’s most respected wine traders, also ensures the wine is as good as the art. Now get yourself nominated as a member!

duddells.co

Hutong, fiery food, fiery views

In which our Editor-in-Chief travels from a neo-Mongolian skyscraping culinary landmark in Hong Kong to a 17th century tithe barn in Hampshire, and points between

Arriving in Hong Kong from London in the early evening, being whisked to my hotel and being checked in in-room, the call of mild has never been more powerful. A thorough room service menu, ranging from Cantonese to club sandwich, the assurance of brisk service and a half-bottle of 2009 Sauzet Puligny-Montrachet, a view from the sofa across to Kowloon, and a four-day schedule of meetings starting with no respect to jet-lag at eight the following morning: why would you venture out of your luxury hotel room?

Because… well, just because a friend who owns a tour operator had told me the Star Ferry to Kowloon is the best introductory experience to Hong Kong, and because otherwise the city would be viewed for the first time through the rose-tinted spectacles of dinners, lunches and parties with friends.

And so with pockets jangling with change for the ferry ticket machine, and the hotel doorman’s slightly perplexed ministrations that it would be much more convenient for me to take a taxi to Kowloon, uncomprehending of the fact that the journey was the destination, I headed through the tropical rain, along a latticework of walkways, past hurrying locals and the odd sauntering tourist, and took my place on a seat by the window. The churning journey across the few hundred metres to Kowloon plunges you into a valley of sea between mountain ranges of human endeavour and show, the edifices on either side; and then you are in Kowloon, and ducking into the lobby of an office skyscraper just before the downpour starts again.

Strange for a Westerner to travel to an acclaimed restaurant in the lift of an office building, but exit on the 28th floor and this is the world of Hutong, a sort of Inner Mongolian gastronomic temple (I later learned that it is designed to mimic Ancient Peking) complete with contemporary bar and ravishing guests. I sat at a table by the floor-to-ceiling window and gazed at the jumble of skyscrapers, each bigger than the last, spreading up and across and out, of Central, Hong Kong, obscured sometimes for seconds by drifting low clouds of the storm and then switched on again as the sky cleared. I toasted the view with a half-litre of draft Veltins, one of German’s finest, most aromatic lagers served icecold and surprising at Hutong. The cuisine is a meld of northern Chinese with whatever else they wish to serve, and my beef fillet with Sichuan chillis was edgy, precise and focussed.

The following evening I was taken by a friend to his new(-ish) restaurant, The Principal, in Wan Chai, a formerly sleazy, now rapidly yuppifying, area along the seafront that mixes massage parlours and ultra-cool shops in roughly equal measure. The Principal is unusual for Hong Kong, I was told, in that its entrance is on street level, which makes it very usual for where I come from. You walk through a gleaming bar area and into a restaurant room that is pared back, minimalist contemporary chic. The menu is Australian in its imagination, and quite contemporary London in its simplicity. The signature starter of baby beet, yoghurt, black quinoa and micro herbs was a quadratic equation of flavours with a very complete resolution; saltbush tenderloin of lamb with sweetbreads, aubergine, chickpeas and Moroccan ras-el-hanout was not North African so much as mid-Indian Ocean, and perplexing and delightful. My friend also owns a wine business, so the Wine Atlas, with picks of the most interesting wines from around the world, was very compelling. This sort of laid-back glamour is the new Hong Kong style, apparently, and London could rather do with some of its own.

The Principal, a culinary highlight in Hong Kong’s cool Wan Chai area

Business finished at lunchtime on the last day in Hong Kong, a Sunday, so a friend who runs an auction house and I wandered down at teatime to the Captain’s Bar, a legendary institution in Central, the heart of town. In a part of the world where high floors and astronomical views are de rigueur for bars, it was arresting to be in a windowless space on a ground floor, an L-shape punctuated by glass tableaux of a chess game, low banquettes, and private jet set businesspeople of no fixed abode muttering deals to each other.

This is one of Asia’s most celebrated cocktail bars, but with a 12-hour flight ahead we weren’t in the mood for cocktails, instead finding solace in the metal tankards of extremely cold, perfectly headed Asahi lager. As the Germans and Belgians – and evidently the Hong Kongers – know, beer benefits from being served correctly as much as any wine appreciates its appropriate Riedel stemware. I had never had lager in a metal tankard before, but after two, we agreed that your own personalised, engraved tankard at the Captain’s Bar was an essential item for any gentleman of the world. My friend had auctioned off two of these for charity a year or two before, but sadly they are no longer available, so I left Hong Kong with a slight sense of yearning.

Frank Gehry-designed fish on the seafront at the Hotel Arts, Barcelona

I have wanted to visit the Hotel Arts in Barcelona for more than a decade, but despite a number of trips to the city, never quite managed to make it. Back in 1998, the world, or Europe in any case, had seen nothing like it: a new build skyscraper devoted to showing off artworks to its guests, more six-star than five. In a city as earthy as Barcelona, it is a strange and rather liberating feeling to be hoisted 20 floors into the sky and survey the scene from above, Asian-style. My room was a paragon of contemporary comfort: silence, a perfectly-sprung bed, a bathroom with the glass walls that are essential parts of a hotel designer’s repertoire now (affording more physical space as well as a feeling of it). And if you tire of Barcelona’s rather impressive (for a big city) public beach on the doorstep, you can view what is probably Spain’s finest overall collection of contemporary art or retire to the hotel’s own pool, stretched out just below the landmark Frank Gehry fish sculpture, which could be said to have kickstarted the whole contemporary design trend in northern Spain. The pool’s architecture is such that it reminded me rather of the Villa d’Este’s pool on Lake Como, famously floating in the lake on its own pontoon, even though the Arts’ pool is very much on dry land.

Without wishing to belittle the hotel’s art offering, which is compelling and makes a stay rather like staying in a contemporary museum, my highlight was art of a different form, in the restaurant Arola. This is food with wit, taste and just enough conception: cod esqueixada with tomato pearls, very particular patatas bravas, sea cucumbers and razor clams with kalix (which reminded me of samphire) were wonderful and not overdone. The artistry of the form of the dishes was matched by their culinary execution; here is another example of modern Catalan cuisine taking its inspiration from Ferran Adrià’s now departed El Bulli but painting with its own palette, so to speak. And one of the most refreshing factors was its informality: Arola is conceived as a modern take on a tapas bar, so the service was swift and down-to-earth, not remote and Michelenic.

Home territory this summer featured a tour of the ancient hillsides of the Cotswolds, and a delve further south. I was struck a few years back when a friend who owns some of the coolest hotels in the world told me he considered Barnsley House as his favoured retreat in the now-ultra-fashionable hillsides and wooded folds between Oxford and Gloucester. England has recently been host to a number of spectacular country hotel openings, and I went expecting a grand super-Cotswold resort, only to be greeted by a bijou little property, all higgledy rooms and hidden staircases, tastefully refreshed in a contemporary style.

Our suite was in a former stable, approached along stepping stones in its own private garden – very St Tropez and perfect for a shy rock star making an escape with the wrong person’s girlfriend, in its seclusion. Inside the palette was light and contemporary, an offset to the building’s history. It was all very refreshing, although the garden and private water area could perhaps have been more organic, more easy on the eye. For those who want country without Country Life, Barnsley House is probably a perfect weekend stop.

As traditional and cosy as Barnsley House is New Gen Chic, Woodstock’s Feathers hasn’t changed much, barring the required investment in keeping everything up to date, since I used to escape there on Sunday evenings with friends while a student at Oxford in the late 1980s. This establishment fixture can accurately claim to be the Gateway to the Cotswolds; it is also on the doorstep of my favourite stately home in the area, Blenheim Palace.

The Feathers has been nurtured lovingly into the modern era, not jolted into it: fabrics and warm and autumnal, grandfather clocks still stand, history is alive, but there is a lack of fust and fuss. There is a feeling of cosiness, enhanced by the enclosed (in the best possible way) nature of its 17th century buildings. Service is friendly and country, not town, and you get the feeling that a gin and tonic, rather than a raspberry Martini, will be the favoured drink here for a century to come – although naturally they will serve you both.

Fifty kilometres is a distance that means nothing in China (unless you’re breaching the border between Hong Kong’s Special Administrative Region and China proper). In England, it takes you to a different part of the country, as a foray to Norton Park from the Cotswolds attested. Steep rolling hills are replaced by broad downs and open plains, and Norton Park makes the most of these views and its wonderful and vast 17th century tithe barn. Here is a new-style country hotel of a different perspective; the simple, well-sourced and thoughtfully cooked country cuisine tells the tale of a country whose culinary history has been jolted out of a shameful past in just the last 10 years.

Norton Park’s new building is removed by some ancient woodland from its original manor house, where we found snug ceilings, secret passages, and a lawn leading to a duckpond and an overgrown copse; ancient meeting modern.

Darius Sanai is Editor-in-Chief of Condé Nast Contract Publishing

Chinese jewellery designer Dickson Yewn combines contemporary chic with rich historical references – and is a favourite of Michelle Obama. Karys Webber meets him

“It’s akin to asking if one likes a pretty girl with no soul”, says Hong Kong-based jewellery designer, Dickson Yewn, in response to my asking about the importance of symbolism in his designs. “It wouldn’t be a piece of Chinese jewellery if it doesn’t represent something auspicious, important designs need to have a story and I have plenty of untold stories.” Jewellery that is designed simply to be pretty to look at, this is evidently not. And it’s really rather refreshing. Each of Yewn’s unique and exquisitely designed pieces aim to tell a story, his collections are lessons in Chinese history and culture, told via the medium of jewellery.

Born and bred in Hong Kong, Yewn started drawing when he was just nine; “since then I haven’t stopped learning about art nor seeking beautiful things,” he claims. His fascination with all things oriental also took a hold of him in his early years. “I was top of my class in Chinese history and literature,” says Yewn, “What’s more, I was in a Catholic school where only two subjects were taught in Chinese, the rest were in English, so Chinese became something of a rare gem to me.”

Despite this, Yewn went on to study elsewhere, in Vancouver first, then Ottawa, and ended up in Paris at the Sorbonne studying French literature and civilisation. Once his studies were completed, Yewn first channelled his creativity into the world of film and advertising; “I’ve always had a burning desire to express myself in some sort of medium, as a teen, film was my first love.” But after four years, it was his self-confessed “poor verbal communication” that prompted a change in direction. “Film and advertising demanded a lot of communication, so I withdrew to something more personal, some form of expression that didn’t require me to work with others. I picked jewellery design and fine arts.” With that, Yewn went off to study again, this time in New York, at the Fashion Institute of Technology where he completed two courses to master the art of jewellery design. By 2000, Yewn’s conceptual jewellery store, Life of Circle, had opened in Hong Kong’s trendy Tsim Sha Tsui district and swiftly acquired a dedicated and elite clientele.

Yewn gained the ultimate seal of approval from the first lady herself, Michelle Obama

Since then, Yewn has gone on to receive impressive worldwide acclaim – Life of Circle was named one of the top 25 stores in the world by Forbes magazine in 2005 (alongside fashion forces, Hermés, Manolo Blahnik and Ralph Lauren) and a collaboration with Sotheby’s in 2008 saw Yewn’s jadeite, diamond and melo pearl (extremely rare due to its vibrant, apricot orange hue) collection sell for a whopping HKD$5.32 million at auction.

More recently, Yewn gained the ultimate seal of approval from the First Lady herself, Michelle Obama, when she wore his Jadeite Diamond Wish Fulfilling Lattice Ring to a high profile dinner at Buckingham Palace in honour of the British Royal Family. “I didn’t know about it until a month after the event” Yewn declares, “a Danish jeweller congratulated me at a trade show and showed me a gossip magazine of her wearing it. I found out later that she bought it at Bergdorf Goodman in New York.” Despite not being one for celebrity endorsements, Yewn admits that he was thrilled; “to have Michelle Obama wear my creation at such a major event is definitely an important milestone and an influential one, given that she is probably the most powerful woman any woman could aspire to be.”

Still drawing inspiration from the rich culture of the Orient, Yewn’s recent Imperial Cage collection portrays the ancient craftsmanship of bird cage making and China’s long-standing tradition of breeding birds for display, a symbol of wealth, social status and power. Yewn’s homage to this ritual incorporates black and white diamonds to depict a birdcage and traditional Chinese flowers, chrysanthemum and plum blossom. The equally stunning Fragrance Locket collection tells the story of the fragrance pouch, stuffed with aromatic herbs and worn around the neck in ancient China, thought to ward off evil and bring good fortune.

yewn.com