Galleria Vittorio Emanuele II mall in Milan: The city has long been a magnet for the world’s wealthy

LUX speaks with Alan Hooks, Managing Director, Head of Private Clients UK at Julius Baer, about the Swiss private bank’s 2022 report on the changing consumption and spending habits of the wealthy around the world

Alan Hooks

LUX: Are we seeing a generational change in the way high net worths (HNIs) and ultra high net worths (UHNIs) spend and invest, taking into account sustainability considerations?
Alan Hooks: Certainly we have seen that shift in approach from a next generation perspective, and that’s where the acceleration of these conversations are coming from. So when you talk about investment habits, the majority of those conversations are held with the future custodians of the wealth of the family, so we are seeing that manifesting itself quite considerably in those conversations.

When it comes to consumption habits, the report also shows that high net worths, and ultra high net worths are typically early adopters of new technology, new product design, that will have a positive impact on the environment. With that advocacy comes some responsibility because typically that early adoption will mean others will start to follow. I think that’s an important trend to observe, and we’ve seen that come out of our Global Wealth and Lifestyle Report over the last few years.

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If you look at the shifting patterns of consumer spending, you’ll see a move from possessions to experience. In particular, that can be seen from the report in terms spending on health, and travel and leisure have been quite significant in the in previous years. During the pandemic were not able to freely travel as much as they would have done, but now it’s over, that is strong. We are certainly seeing from a London perspective the leisure and tourism sector is an area where discretionary spend is high.

Heston Blumenthal’s restauarnt The Fat Duck, outside London. High net worth individuals are spending more on experiences according to the report

LUX: You rank various cities in the world in terms of their cost and desirability. Any place stand out of particular interest?
AH: What’s great about the report is that we highlight cities around the world where there is still great opportunity, Sao Paulo for example, has a significant population, high degree of a younger (wealthy) demographic signifying great opportunity.

LUX: What other elements are important for HNIs and UHNIs?
AH: What recent months have shown us is the focus on security and safety and countries and cities that can offer that level of security and stability, are important. In this demographic that becomes important as a factor in terms of where people are basing themselves or may be relocating. Other considerations such as lifestyle, education and so on are also important. The cosmopolitan nature of cities around the world, certainly for international families, is important.

Expensive but exclusive adventure experiences like Sven Lindblad Expeditions gives guests the opportunity to see sites like this iceberg in Ilulissat, Greenland

LUX: Crystal ball gazing, what do you expect to see in next year’s report?
AH: I think I would expect to see trends continuing in terms of continued focus around health and well-being. I would be interested to see whether the challenges that we’ve observed in the 2022 report will remain in the future, or whether that starts to settle. For example, if we look at some of the findings on London in leisure, we see a significant demand for leisure, tourism, hotels and restaurants. We are also hearing from hoteliers and restauranteurs about the challenge around finding staff.

Read more: Chef Heston Blumenthal: The Culinary Resurrector

It will be interesting to see and hear from respondents over the next 12 months whether this trend is continuing and how things are faring as a result of things settling down after the pandemic. It will also be interesting to observe the levels of creativity we find from businesses in product design and in servicing high net worth and ultra-high net worths. What we have learned in the pandemic is that typically there has been innovation and creativity in these areas.

Find out more: juliusbaer.com

Torrance golf course at the Fairmont St Andrews

Located on the east coast of Fife in Scotland, the Fairmont St Andrews is a grand resort hotel with a championship golf course, spa and multiple restaurants. LUX checks in for the weekend

Arrival

A challenge with some of Scotland’s great hotels is that they are quite an ‘interesting’ drive away from an airport. No such problem with the Fairmont St Andrews, to which you whiz from Edinburgh or Glasgow airport along smooth roads. An hour later, the countryside reveals a view of the North Sea, and the resort grandly perched in front of you, surrounded by farmland and, given the location, a golf course.

Fairmont is a North American brand, and you could be forgiven for thinking you had arrived at a resort in northern California, with a grand driveway, ornate signs and a swanky entrance. The grandeur continues inside. Having checked in, you walk into a huge atrium lobby from where a lift takes guests to their appointed floors.

The Room

The views were tonics, and quite different to those in the Scottish Highlands. We looked out over the grassland dropping down to the steely endlessness of the North Sea, which sounds bleak but to the right were rolling hills dotted with picturesque farmhouses, and the East Neuk art colony down the coast.

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Continuing with the North American vibe, the room was huge and lavishly appointed, with marble bathrooms, excellent lighting and air-conditioning, which you often don’t get in hotels in this part of the world, where quaintness is too often an excuse for neglect. Perhaps there could have been more Scottish character in the rooms, but there was plenty of that outside the windows, and in St Andrews next door.

One of the hotel’s deluxe suites 

The Experience

Unlike some places which install a treatment room and call themselves a resort, the Fairmont St Andrews really is a resort. There is a big spa, indoor pool and one of the most renowned championship golf courses in the world. A couple of miles down the road, there is also the course of the Royal and Ancient.

All this means you could entertain yourself without ever leaving the resort. There are several restaurants in the main building, but we chose to dine at the St Andrews Bar & Grill, a few minutes’ walk away on the golf course with a fabulous sea view, which served lobster, charcoal-oven steaks and oysters, along with a superb selection of champagnes. We will have to save La Cucina, the Italian restaurant, for next time.

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

Exploring

St Andrews is famous for its golf, but is also one of the country’s most attractive old towns. We spent the day exploring the streets, the university quad, the castle and cathedral, and enjoying the astonishing variety of restaurants of different cultures packed into the tiny town with its very cosmopolitan student base.

Squire Restaurant is just one of the hotel’s dining options

The Verdict

Super-swanky American resort service and standards meet one of the most desirable locations in the Old World. Our only regret is having to cut our stay short.

Find out more: fairmont.com/st-andrews-scotland 

This article was originally published in the Summer 2021 issue.

Photograph by Anne Emmanuelle Thion

In the final part of our luxury travel views column from our Summer 2021 issue, LUX editor-in-chief Darius Sanai discovers the subtle grandeur of Domaine Les Crayères in the Champagne region of France

If the method of departure from a hotel leaves a lasting memory, so too does a welcome. The luxury hotel where the doorman ignored you, or wasn’t there in your moment of need, is likely emblazoned on your heart. And the welcome at the Domaine Les Crayères was something else. It was a five-hour drive, roof down into the sun, from Baden-Baden to the outskirts of Reims in the Champagne region of France; after some moments of interest passing through (but sadly not stopping in) the wonderful hills of Alsace, the road was relentless. Crunching down the drive and drawing up to the grand mansion, I felt like nothing more than passing out on a cool bed for half an hour before an early dinner, ahead of my day of meetings the following day.

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The doorman whisked my door open and ushered me in; reception was a brief formality; all good. And then: “We would like to invite you onto our terrace for a glass of champagne, monsieur.” Really, I thought, like this? I was wearing black jeans and a polo, not evening wear. I was assured it would be fine. Still swaying from the drive, I walked out onto a broad terrace above a long stretch of parkland garden, was shown to my table and poured a glass of their champagne. Canapés appeared. The sun was about to set but still a few centimetres above the treetops; it was warm, and the terrace was scattered with lively and appropriately spaced couples. What had seemed like a slightly bad idea on arrival – shouldn’t you have a glass of champagne before dinner? – turned out to be a stroke of genius. A blanc de blancs champagne is reviving, not soporific, and when I finally went up to my room at sunset, I felt energised.

One of the hotel’s elegant bedrooms

My room, at the top corner of the château, was elegant and elaborately decorated, with a view out over the same parkland. Although it is on the edge of Reims, the feel is peaceful: you have no sense of being in a big city, but nevertheless I walked to my meetings in the centre of town the next morning (full disclosure: it was a couple of kilometres each way, and I was working on my step count after a lot of driving).

Read more: Professor Peter Newell on why the wealthy need to act on climate change

You come to Champagne to drink champagne (or in my case to meet clients who own champagne houses), and you come to the Crayères for the best possible base while doing so – and to drink champagne and most of all to dine in its two Michelin-starred restaurant.

The atmosphere here, in its intimate dining room, was surprising in a positive way: it wasn’t so grand and formal that guests felt they had to dine in a hush. And yet the chef Philippe Mille and his creativity were very much front and centre. As well as à la carte, you can choose from various menus including an ‘Escape into the Vines’ menu. This was an astonishing piece of imagination and artistry, and so far beyond a mere manifestation of its ingredients that it would do it a disservice to describe it by the ingredients of each individual course.

A foie gras dish from the two Michelin-starred restaurant at Domaine Les Crayères

There were seven courses, created to work in sequence like a story and woven together by a freshness and life so often missing from formal French dining where heavy saucing is a substitute for imagination. Oh, OK, I will describe just one of them: lobster from the Iles de Chausey, grilled on vine shoots, with shells juice (no typo there) and pinot meunier.

The champagne list – encyclopaedia, really – is extensive but what is really impressive is the selection of small-grower champagnes, many of them just farmers making champagne on their smallholding, many of them cheap, unavailable elsewhere and absolutely delicious. I do not usually seek the advice of sommeliers, finding them too often beholden to their own tastes or trends, but here, stay away from the brands you know, and seek one of these out. A unique and highly repeatable experience.

Book your stay: lescrayeres.com

This article originally appeared in the Summer 2021 issue.

Simon Hodges photographed by Matt Porteous

This month, LUX columnist and life coach Simon Hodges reflects on the difficulties of the past year, and the lessons we’ve learnt

As we all start to emerge, perhaps feeling somewhat dazed and disorientated, from this long period of isolation, I find myself contemplating a few questions:

• Will we ever experience life again as it was before?
• What lessons have I learned from this challenging period?
• What lessons do we collectively need to learn from this last year?

Sitting in my log cabin office on a very windy and still fairly cold day (summer still feels a way off!), one thing is abundantly clear to me: never underestimate how quickly things can change!

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But despite the late summer and the chaos of this last year, the first thing that comes to my mind is the word ‘hope’; there is nothing to say that our lives and this world cannot change markedly for the better in the coming weeks and months ahead.

Of course, I could just have easily chosen other words like ‘despair’ or ‘frustration’ but I find myself unable to do so. And one of the main reasons why I say this is that I think we all know with absolute certainty that it does not serve us to stay in such a dark place any longer.

Lessons Learnt – for me personally

My first lesson learnt is to choose to focus more of my energy on the light while recognising that the darkness is always there and that there are times when we all experience this darkness at the same time. And behind this are some real home truths for me:

• Acceptance and surrender – for me, being happy is as much about being ok and accepting of the darkness in the world and in ourselves, as it is about consciously choosing to experience more light and joy. A huge part of what makes our human experience meaningful is our experience of both ends of the emotional spectrum.
• Growth is never easy – we learn so much more about ourselves and are given the opportunity to learn and grow in times of hardship, struggle and adversity. Learning to see these times as a gift and not an obstacle is a game-changer in life. I guess this is something I have always intuitively known to be true, but it has really hit home recently.
• This too shall pass – no matter how bad life seems, and God, do we know it can feel grim, it is incredibly comforting to remind ourselves that this moment will pass and the light will return.

Lessons Learnt – for us collectively

The older I get, the more I feel that the universe and nature has a way of bringing us back into alignment with a higher purpose. That doesn’t mean to say that I believe that there is a permanence to our presence on this planet. Indeed, I have no doubt that we, as humans, have the capacity to self-sabotage and destroy more than any other creature or force out there today.

Read more: Meet the new generation of artisanal producers

How this all pans out is largely going to depend on how well we as individuals and a collective, listen to the lessons the universe is sending us right now and choose to act as a result.

• Choose love not fear – we need to move away from the outdated programme we have all been running (and taught from a young age) which tells us that we must compete over scarce resources and act in our self-interests if we are to survive. We need to learn that being loving is actually the hardest thing you will ever do – it takes real courage and strength to lead with love and it is oh so easy to lead with fear.
• Less is more – we live in a world obsessed with the accumulation of stuff. In turn, this leads us into a spiral of there never being enough, our cups forever half-full. These needs are fuelled and encouraged from all angles in the modern world. Learning to truly understand what enough looks like and then applying this in our daily lives is going to be crucial to our future happiness and sustainability.
• Serve others – this world would be an exponentially better place if we stopped making it all about ourselves, what we need and why others are to blame for our circumstances. This state of mind leaves us stuck, filled with judgment and leaning on our fear fuelled egos. Doing something for someone else, no matter how small will leave you happier and more fulfilled. It is that simple.

Next time

This has been an incredibly challenging year for us all, in so many different ways and on so many different levels, so forgive me for this column being a little more sombre! I am a huge believer that we only learn from our mistakes and we also only change our behaviour when we hit a leverage point (usually when life is painful) and I think it is fair to say that many of us are there right now. So, what are you prepared to do to commit to change?

Find out more about Simon Hodges’ work: simonhodges.com; @simonhodgescoaching

Masterpiece London, 2019. Photograph by Ben Fisher. Courtesy of Masterpiece

In his first column for LUX, art collector, advisor and chairman of Masterpiece London Philip Hewat-Jaboor discusses the joys of discovering art and design objects through their materials

Philip Hewat-Jaboor. Photograph by Danny Evans

I’m always intrigued to discover what brings people to works of art, and what sets their collecting in motion. Over the years, one of the most beguiling ways I’ve found to draw people in, is to look at an artwork’s materials and explore how it has been made. What does the texture and surface of the materials tell us? What meaning and significance do those materials hold? What cultural and historical value do they have? Whether it’s precious stones, marble, porcelain, pigment or wood, it’s interesting to think about how the artist has transformed a raw material into something full-formed and to look for the beauty in that process. Materials transcend disciplines, cross continents, and evolve through time and when it comes to beginning your own collection, it’s a brilliant place to start.

Personally, I’m obsessed by coloured ornamental stones, and by that I mean the stones that were first quarried by the Romans in Egypt and other parts of the Roman Empire, which became incredibly prized as both building materials and materials for making works of art. I take great pleasure in looking at how these materials are used and reused over the course of history. For example, you might be looking at a 18th century vase made out of Egyptian porphyry (my favourite material) but whilst it’s an 18th century object, it was probably made out of a 2nd or 3rd century column that had been abandoned in the Renaissance or whenever, dug up from the excavations in Rome and turned into another object. There’s a wonderful sense of continuity, and doing this kind of research is a fantastic way of not only learning more about the object itself, but also history.

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There are then the contemporary artists and designers who are thinking about new ways of using ancient materials such as stone. There are designers and artists at David Gill, for example, who are incorporating these wonderful, ancient, coloured stones into contemporary furniture and in doing so, they are bringing new life to the material. In this sense, I’m quite anti the division between traditional and contemporary art because everything looks backwards and forwards. In my opinion, things are either good or bad, stimulating or indifferent, whether they were made yesterday or 5,000 years ago.

Galerie Chenel at Masterpiece London 2019, Ben Fisher Photography, courtesy of Masterpiece

It’s also interesting to consider what inspires the rebirth of a particular material. For example, I’ve been thinking about how there’s been a trend for refurbishing kitchens and bathrooms in the last ten years, and incorporating coloured marbles into new designs. There’s also the fact that each slice of marble, not all marbles but many of them, will be totally unique. So if you’re making a limited edition of five coffee tables, each one will be different and I think that’s really appealing to both the creator and the modern consumer.

Read more: Olivier Krug on champagne and music

Lately, there has also been a trend, or at least a growing interest in more sustainable craft processes, but the interesting thing is that many of these artists and designers are already using historic materials, which is in itself sustainable, but in my opinion, it also imbues the contemporary object with more of a soul. For example, Sebastian Brajkovic, a fantastic artist at David Gill Gallery, made a wonderful side-table out of white marble combined with some artificial marble and other bits and pieces. It’s a strikingly contemporary object, but it is modelled on a Roman sarcophagus.

This past year, in particular, has encouraged people to think about how they want to live, and what might bring their lives comfort, which naturally impacts what they are choosing to buy or collect. I personally think being surrounded by beautiful objects is a very important part of life, and can bring people so much joy.

So where to begin with all of this? Visiting museums, galleries, art fairs and even country houses is a fantastic way to discover and pique interest in new eras and disciplines. Exhibitions even have the power to kickstart entire collecting trends. For example, Treasure Houses of Britain was a great show that took place at the National Gallery in Washington in 1985, showcasing paintings, furniture and works of art from British country houses. The exhibition had such an inspirational effect that it launched an Anglo-manic wave in American collecting in the 80s.

When I reflect upon my own collecting journey, I think how fortunate I was that my grandfather was a collector and that he would let me handle his Chinese ceramics collection. This close-up experience with a material is not something you often get at a museum, but with his passion and trust, I had the opportunity to really look at, appreciate and observe the material and craftsmanship.

In the same way, art and design dealers often want to share their passion for their speciality with potential clients. My advice to new collectors is to actively start conversations, ask questions, read, listen, research and build your knowledge. Search for beauty, great craftsmanship, and ultimately, allow yourself to be guided by your instincts.

Philip Hewat-Jaboor is Masterpiece London’s Chairman of the Fair.

This year’s edition of Masterpiece London will take place online with smaller-scale live activations in London in June. For updates and online events, visit: masterpiecefair.com

Simon Hodges photographed by Matt Porteous

This month, LUX columnist and life coach Simon Hodges concludes his ‘how to thrive in uncertainty’ series by sharing some practical advice on how to effect positive and lasting change

Over the last few months, I have been exploring why we tend to operate more often in survival mode as a result of our often unconscious programming, otherwise known as our belief systems or (more colloquially) the bullshit stories we believe to be true about ourselves and the world we live in.

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In today’s column and final part of this series on how to thrive in uncertainty, I explore how we can practically move away from these old fear-based patterns (or beliefs) and learn how to thrive again.

Making change a MUST

As I am an intensely practical person, my focus is on being real and offering you concrete insights into how to effect real and lasting change in your life.

As I said in my last column, change never happens until you first become aware of what is actually going on in your life and you can see both the reality and the negative impact of the beliefs you currently buy into. It is often revelatory to my clients when they first see a written list of their beliefs and just how toxic they are, which leads me onto my first point…

As human beings, we will only ever change our behaviour when it is a MUST to do so; in other words, we all need to hit our leverage point to change and this usually means experiencing so much pain that it becomes intolerable to endure it any longer! If you need help hitting your leverage point, you can ask yourself the following questions:

• What does the predictable future look like for my life and what I want to achieve if I nothing really changes in the next 10 years or even 20 years? What will be my deepest regrets if I allow this to happen?
• What is the impact of my behaviour on my relationships and particularly, those I love the most? What does this look like 5 years from now if nothing changes?

Once you have become aware of what is no longer working for you and have also taken full ownership of it personally (no outsourcing to others with the blame and shame game!), you have to fully commit to doing whatever it takes to make these changes happen.

Change means change!

This leads me onto my second point: change requires a different approach. As Einstein said, the definition of insanity is to do the same thing and expect different results. It sounds achingly simple, almost patronisingly so, but the reality is that most of us try to change by largely doing more of the same and then convincing ourselves that we did everything we could.

Read more: Hermès perfumer Christine Nagel on the emotional power of scent

So here is my challenge to you, if you are 100 % committed to change, you need to start to change the way you show up minute to minute, day to day, week to week and here are some fundamentals to address from the ‘get go’:

• Be curious and open minded – in other words, challenge yourself constantly to see if you can look at any given scenario, any interaction and event differently. What if my way of seeing things was not the only way? What if other perspectives were equally valid?
• Everyone you meet in life is your teacher – for me, this is one of the biggest game changer lessons I learnt. The point here is that everyone who comes into our lives (even those we can’t stand!), can teach us something. More often than not, we learn the most about ourselves and grow exponentially as a person from those relationships which feel the most challenging and push our buttons.
• Adopt a growth mindset – if you really want to change, this is a non-negotiable. Nothing worthwhile in life comes effortlessly, you have to do the work and most of all, you have to consistently push yourself to grow. And you will know you are truly growing when you consistently feel uncomfortable, out of your comfort zone, confused, uncertain and life feels messy! All growth is messy and uncomfortable but it is so worth it in the end when you realise how far you have come and most of all, how differently you now feel about yourself day to day.

This is always the acid test of how successfully you have grown, ask yourself: do I feel different today compared to 12 months ago?

Photograph Matt Porteous

Big change comes from consistently making little changes

If you want proof this is true, take a moment to think about the power of compounding in your finances, or Google some examples, and you will see just how quickly £1 invested every day can grow over a longer period of time.

It’s the same with life. If you want to see positive change and powerful results, first and foremost, you need to be consistent in applying these, often small, changes every day and remain disciplined enough to stay the course.

Get clear about what you want in your life and why you want it

Finally, if you want to make lasting and positive change in your life, focus on what you want your life to look like and most importantly, how you want to feel on a day to day basis.

Getting clarity on all aspects of your vision for your life across your finances, career, relationships, health, personal development, spirituality, fun and adventures is really important as it is the magnet which will pull you forward. The more clarity you have on exactly how you want this to look and the more emotionally invested you are in this outcome, the greater the chances of your success.

The most important part of all is to seek clarity on the emotions you want to feel more of in life and to start doing things today which take you in this direction. If you want more fulfilment, more contentment, more passion or more fun in your life, what sort of things do you need to be doing more of on a daily basis, and what sort of people (if any) should you be doing them with?

Find out more about Simon Hodges’ work: simonhodges.com; @simonhodgescoaching

Knight Frank launched its 2020 Wealth Report at Chelsea Barracks, a new luxury residential development in Belgravia, London

Last week saw the official launch of the 13th edition of Knight Frank’s Wealth Report at Chelsea Barracks in Belgravia, London with a new focus on on data relating specifically to ultra-high net worth individuals, providing invaluable insight for investors and those seeking to buy new homes. Here’s what you need to know

Wealth is increasing on a global scale

Despite geopolitical uncertainty, the global number of ultra-high net worth individuals (UHNWIs) is still growing and is expected to rise by 27% over the next five years, taking the total to an estimated 649,331.

The US still dominates with the largest UHNWI population (240,575), followed by China (61,600), Germany (23,000), France (18,800), Japan (17,000) and the UK (14,400). India has the fastest growing UHNWI population with an estimated 73% rise over the next five years.

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New York wins for lifestyle

The report assesses 100 cities based on their global appeal as a place to invest, live and spend time. This year, New York came top, pushing London into second place followed by Paris, Hong Kong and Los Angeles.

Wellbeing is a new priority

According to The Wealth Report Attitudes Survey, 80% of UHNWIs are dedicating more time and money into their wellbeing. There is also a growing focus on wellness as a measure of national performance with Oslo in first place followed by Zurich and Helsinki tied in second place.

And so is sustainability

This year’s report discusses the impact of luxury travel on the environment, featuring insights from William Mathieson, Intelligence Director of The Superyacht Group and Thomas Flohr, Founder and Chairman of Vistajet into how their businesses are becoming more sustainable.

Read more: Darius Sanai’s Luxury Travel Views Spring 2020

Residential trends are changing

The report also includes the latest results from the Prime International Residential Index (PIRI), which places Frankfurt at the top of the second homes market, followed by Lisbon, Taipei, Seoul and Houston.

Lord Andrew Hay, the Global Head of Residential at Knight Frank, presenting data at the launch of this year’s Wealth Report

10 neighbourhoods to watch according to Knight Frank’s property experts:

1. Road to Amizmiz, Marrakech, Morocco
2. Fengtai, Beijing, China
3. Sentosa, Singapore
4. Sydney Harbour, Australia
5. St Martin-de-Belleville, The French Alps, France
6. SoPo, Berlin, Germany
7. Mahou-Calderón, Madrid, Spain
8. Maida Vale, London, UK
9. Museum District, Houston, US
10. Imperial Beach, San Diego, US

To view the full wealth report visit: knightfrank.co.uk

Restoring the Garrison Chapel

The Garrison Chapel was constructed in 1859, and functioned as an active church for 150 years before it was deconsecrated. In 2018, after an extensive refurbishment supported by the Chelsea Barracks Chapel Trust, the building was reopened as a community arts and culture space.

Watch the below video to learn more about the project:

Chelsea Barracks – The Garrison Chapel from Chelsea Barracks, London SW1 on Vimeo.

For more information on Chelsea Barracks visit: chelseabarracks.com

How well do you know your socio-economic and demographic grouping acronyms?

Abercrombie & Kent founder and LUX contributor Geoffrey Kent discusses how a new generation of consumers are influencing brands

How well do you know your socio-economic and demographic grouping acronyms? From the best-known, like Yuppie and Wasp, to the more recent, Sinbad – there seems to be an acronym for everyone.

If you are a frequent reader of my columns here on LUX or if you’re familiar with our luxury travel company, Abercrombie & Kent, you might be forgiven for thinking that we concentrate on attracting Dinkies, Tinkies (two incomes, nanny and kids), Glams (those who are greying, leisured, affluent and middle-aged), or even Rappies (retired affluent professionals), but in fact, we, like all brands, are increasingly turning our attention to the Henrys.

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Nothing to do with the Hooray Henry, this term was coined by Fortune magazine and stands for ‘high earners, not rich yet’, Henrys are those on their way to affluence, but not quite there yet due to high living costs and other factors. While Henrys span both the millennial and GenY generation, it is millennial Henrys, which are of so much interest to entrepreneurs and their marketers for two simple reasons.

Firstly, their numbers: as revealed in an all-important announcement in 2015 from the U.S. Census bureau, millennials (born between 1980-2000) surpassed Baby Boomers (those born between 1946 and 1964) as the largest generation in the U.S. (where this type of research frequently seems to stem from and of interest to me because of A&K’s American offices (A&K is headquartered in both London and Downers Grove, Illinois). Plus there are many, many more of them in comparison to their parents’ generation.

Secondly, their spending power: from now until 2040, millennials will be entering their prime spending years. They will be the key consumer segment driving the world’s economies.

The millennial generation had its biggest birth year in 1990, so using them as an example, the top 20 per cent Henrys (high earners, not rich yet) born in 1990 earn over $50,000 per annum and the top 10 per are earning more than $75,000 a year approximately. They are well on their way to affluence, and are more educated, better informed and setting the trends that other millennials will emulate.

And with millennials driving economies, as brands try to win their business, millennials will change the businesses and their offerings, thus affecting us all. They are driving what is coming to be called the ‘experience economy’, moving from consumerism towards experientialism (read more about how they are redefining luxury travel here). If you have a subscription to a streaming service and no longer purchase DVDs or boxsets for example, it’s all down to millennials and this trend. If you have noticed more travel companies urging you to experience a destination like a local or learn something on holiday, you now know who the cause is. This isn’t exactly new ground for A&K – we’ve been encouraging travellers to make horizon-broadening connections since the early 1960s – plus ça change.

Read more: Kuwait’s ASCC launches visual arts programme in Venice

Millennials and the Henrys among them are focussed on value, not price point, and interested in feeling proud of their purchases and the things they do. They are design-led, crave authenticity and want for everything they do to be climate positive (or at a bare minimum, neutral). They are the type to choose a travel brand that is philanthropic and does good in the places in which its guests travel (such as A&K). They want a curated experience, that does no harm (i.e. is socially responsible) and that is Instagrammable. They share their experiences in the same way that their parents related theirs at dinner parties.

They are searching for a connection to their communities, other cultures and the world at large. Travel is a practical way to process and respond to an increasingly complex globe.

Thanks to childhoods, lifestyles and the psychology of millennials, they are the ‘Do It For Me’ customer – exactly the type that appreciates a well-travelled and knowledgeable travel expert who will arrange their luxury holidays for them. A match made in heaven? Who knows, but it certainly was a match made sometime between 1980 and 2000.

Discover Abercrombie & Kent’s luxury travel itineraries: abercrombiekent.co.uk

The Penthouse kitchen and dining room designed by Roksanda. Photography by Michael Sinclair. Styling by Olivia Gregory

Fashion designer Roksanda Ilinčić has curated the interiors of a penthouse apartment inside Gasholders London, a new residential development in Kings Cross. We get the grand tour

The trend for designer home-wear has reached its pinnacle. The new penthouse apartment curated by fashion designer Roksanda Ilinčić shows not only her designs, but how they integrate with art and iconic pieces of design history. The apartment is about how we can live with art and how all arts engage with each other; fashion crossing into ceramics, furniture and architecture. It is a unique space, which encompasses her artistic vision through unifying and contrasting colours, textures and luxury materials.

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Roksanda’s own home-wear collection, naturally, takes centre stage. In the apartment’s whimsically named ‘Sun Room’,  a ‘Roksanda X Linck Ceramics’ vase stands next to a stylish velvet chaise in red and orange with a coral curtain backdrop. The vase’s monochromatic shades are striking against the vibrancy of its surroundings.

A Roksanda X Linck Ceramics vase in the penthouse’s ‘Sun Room.’ Photography by Michael Sinclair. Styling by Olivia Gregory

Here and throughout the apartment, we see the designer using colour and form in an unexpected way, just as she does with her clothing and accessories. The sculptural shapes and distinctive cuts associated with her clothing lines are translated into her choice of furniture; in the sharp angular Pierre Jeanneret chairs (1950s), the sleek, almost weightless Guillerme and Chambron oak desk (1960) and the organic, rounded form of the ‘skin lamp’ by Eny Lee Parker.

Read more: Kuwait’s ASCC launches visual arts programme in Venice

The living room with curated furniture by Roksanda. Photography by Michael Sinclair. Styling by Olivia Gregory

Roksanda’s creations are dotted around the apartment. Photography by Michael Sinclair. Styling by Olivia Gregory

The link between fashion and art is further emphasised by the designer’s own pieces, which are dotted around the apartment. A deep red jacket hangs in the hallway, a dress is draped across a bedroom chair with a pair of matching slippers, giving the impression that the designer is living in the space. This, of course, is the desired effect. The pieces are positioned so as to reveal just how liveable the space is, allowing viewers to picture themselves in the scene.

Rosie Ellison-Balaam

The Penthouse sits over three floors, with a double-height sunken courtyard garden and staircase providing access to a private roof garden with views of Coal Drops Yard. The apartment is available to buy fully-furnished for £7,750,000. Find out more: gasholderslondon.co.uk

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.

The Canary Wharf Estate is now one of London’s most recognisable views

Once an industrial dockyard, Canary Wharf Estate is now home to London’s most famous skyline of angular glass towers, but thanks to the vision of property developer Canary Wharf Group, it’s also a highly desirable residential area with a thriving Arts + Events programme, high-end dining options and plenty of luxury developments underway. LUX speaks to the group’s Managing Director Camille Waxer about creating a lifestyle destination, the importance of public art and her vision for the future

Canary Wharf Group’s MD Camille Waxer

LUX: What’s your vision for Wood Wharf as Canary Wharf’s newest mixed use district?
Camille Waxer: Our new district is designed to provide a residential led, mixed-use, waterside community defined by the quality of its public spaces, the diversity of its activities and its exemplary architecture.

The finished development will have the buzz that currently exists at Canary Wharf complemented by the tranquil setting of waterside living. Boutique shops and neighbourhood restaurants will be part of a thriving community with entertainment and leisure activities within the gardens, parks and squares and along the waterside boardwalks that line to the north and south side of Wood Wharf. As with Canary Wharf, art will be an integral part the community, in addition to a gallery there will art dotted throughout the development. There will also be a primary school, nurseries, GP surgery and play spaces for children.

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LUX: How do you select retailers for Canary Wharf? Have you noticed an increased demand for independent businesses or are high street names still dominant?
Camille Waxer: Initially the vision for the retail and food and beverage provision was to serve the working population but it was clear from very early on that the area wanted more, we started out with 6,000 sq ft of retail space and we now have over 1 million sq ft and Canary Wharf has become a destination. We evolved and we will continue to develop to meet the needs of the many visitors who come here – we regularly survey our visitors in the malls to deliver the shops, cafes, restaurants, services and amenities that people want at Canary Wharf. Our aim has always been to deliver what our customers want; it is a simple yet winning formula. Know your market, both with the retailers and your shoppers and your customers will become advocates for what you do.

The current trend is for independents which we love, there are some really interesting brands coming through but we need high street retailers as well, you need the mix. Our choice of retailers – whether they’re independents or high street names – will continue to increase, with the addition of new brands, particularly in food and leisure, and health and fitness. We recently launched Wharf Kitchen – a street food market where we bought together seven independents together and The Ivy, Polo Ralph Lauren, Peloton and Claudie Pierlot have also opened recently.

A crowd enjoying Nashville Meets London music concert in Canada Square Park, Canary Wharf

LUX: With Arts+Events, retail and dining, Canary Wharf has transformed in feel; it’s now much more than just a business district. How do you create a lifestyle destination?
Camille Waxer: We have 120,000 people working here each day and another 150,000 people visiting daily so it is important to create a place that people like. Our approach from the design of our master plan over 30 years ago through to what you see today and will continue to see in the future is centred on our belief that it is the consideration and integration of every part of this development that makes it the incredible place that it is – everything from the smallest detail to the largest of buildings.

We not only want to create exceptional buildings like our flagship residential building, One Park Drive, designed by Swiss architects Herzog de Meuron, but also an incredible environment for all of our visitors to enjoy. From the outset, public realm has been key to our development. We put our shops underground so we could put parks above them. When you walk around Canary Wharf you’ll will find buildings designed by globally renowned architectural practices surrounded by beautiful and award-winning gardens, parks and squares – all complemented by a culturally inspiring arts and events programme.

Read more: Why you need to see Alberto Giacometti at Guggenheim, Bilbao

LUX: Why it is important for an area to have Arts+Events programmes and what do you think are the most effective ways of building/creating a community feel?
Camille Waxer: From the outset we had a cultural masterplan that included a fully curated programme of day and evening events and activations throughout the week. The culture is the glue that holds Canary Wharf together, without it we would be like every other development.

Our year-round Arts+Events programme delivers over 200 diverse events each year, designed to offer something for all tastes, there is everything from music concerts, comedy nights, family and community shows to food markets, sporting events, dance and theatre – all free to attend. We work with many of the world’s leading art institutions yet crucially we also work with small, local community groups who are part of the fabric of our Estate. The sense of community that you feel when visiting Canary Wharf comes from the people, whilst the developer can create the place it is the people that will make it a community and we recognised this from the very beginning.

Our events are designed to appeal to audiences of all ages, from the local area and beyond and through our events programme, people engage, interact and enjoy their time at Canary Wharf. In January, we have our fantastic Winter Lights Festival which runs for 10 days and has become a must see event in people’s calendars.

Here and above: installations from the 2018 Winter Lights display in Canary Wharf

LUX: Canary Wharf Group has an impressive public art collection which includes work by Henry Moore and light artist Bill Culbert. What purpose do corporate collections serve?
Camille Waxer: Art is in our DNA and has been integrated in to the built environment from the very beginning. We have always been driven to provide a destination that has a positive impact on those who use it – the office occupiers, the local community and visitors to our Estate and for us art plays a huge part in this. Our corporate collection serves the local and wider community, it is accessible, and most importantly located in places where it can be seen and touched. The art that you see throughout the Estate has helped to create a sense of place.

Canary Wharf is now home to one of London’s largest collections of public art with over 70 pieces of art across the Estate, new pieces are added to the permanent collection each year and we also host a temporary exhibition programme that champions emerging and local artists alongside more well-known artists. Our CEO and Chairman Sir George Iacobescu, CBE is the force behind the collection and I feel privileged to work with him on it.

LUX: In 2013 you launched Level39, a tech community offering expert mentors and workspaces. How does this scheme work and where did the idea come from?
Camille Waxer: With London emerging as one of the world’s leading centres of technology innovation – we launched Level39, a community and co-working space for startups and scale-ups situated in the heart of Canary Wharf. It is now home to 200 ambitious companies and has grown to become the leading fintech – financial technology – hub in the world and the largest concentration of cyber security startups in the city.

The community has helped change the Canary Wharf from a predominantly financial services district to a more technology-focused community.

LUX: What’s the greatest challenge in managing a 97 acre site with a service charge budget of over £90m?
Camille Waxer: I can only respond in saying that we have the most amazing team of dedicated people working for Canary Wharf Group. Yes we have challenges yet we are a very well-oiled machine, with a huge amount of expertise and experience.

We are all exceptionally proud of everything we have achieved, there are challenges as with any organisation yet they are dealt with as a team and as a result it is a joy to manage the Estate even with the challenges.

LUX: When Southbank Place completes in 2019 what can we expect to see?
Camille Waxer: Southbank Place has been one of the most talked-about developments in London since it was first announced, and I believe that it will really change the landscape of the local area once complete. The location is so central and such a great cultural hub, I can’t wait for us to be part of the community with merging our own arts and events programme with the surrounding venues.
Some of our shops have already opened Gail’s Bakery, M&S and Boots to name a few. The independents will follow. Southbank Place is just the start of the revitalisation of this area of London.

Read more: Philippe Sereys de Rothschild on fine wine & supporting the arts

LUX: How do you make sustainability a priority whilst trying to meet consumer demands?
Camille Waxer: Sustainability is an integral part of our strategy to shape Canary Wharf as a city of the future. With our new residential developments our Estate is evolving; from a place to work in to a place to live. And we know consumers want a more sustainable planet/environment.

On World Environment Day, June 2018 we launched ‘Breaking the Plastic Habit’, a 12 month programme designed to remove single-use plastics across the Canary Wharf Estate. As part of this programme, we have committed to becoming the world’s first commercial centre to be accredited with ‘Plastic Free Community’ status in partnership with Surfers against Sewage, a national marine conservation and campaigning charity. This is something that we are passionate about with the volume of food operators we have and it is our responsibility to do something about it.

LUX: Can we expect to see changes in consumer buying in the next ten years and will this affect leasing and retail spaces?
Camille Waxer: The retail market continues to be challenging. However, there is still a huge demand for retail stores as consumers continue to want to enjoy retail experiences within physical store environments. The trend at the moment is for independent operators and it is wonderful to see the talent emerging, I sit in many meetings and I think wow that takes guts to give it all up to open up a food stall. A blend / mix of independents and high street is important.

Visitors enjoying Pimms being served for the Wimbledon tennis screening in Cabot Square, Canary Wharf

LUX: What do you consider your biggest achievement to date and why?
Camille Waxer: My biggest achievement is the time that I have spent here. I have been working at Canary Wharf Group for 28 years, I have been part of realising our vision for a master plan that was completely new to London – the creation of a purpose built, district designed to respond to the needs of its users in an area that was unused and suffering from high levels of dilapidation and unemployment following the closure of the docks.

The early days were some of my favourite moments, at the time there were few believers in what we were doing but look at where we are now; we have gone beyond what anyone thought possible, we haven’t simply created a district we have created a destination – Canary Wharf is vibrant and thriving with over 49 million people visiting our malls each year. We have contributed to the regeneration of a large area of our city. It doesn’t get much better than this!

The passion and collective hard work of the team here is very inspiring. This is not a job for me, it is a pleasure.

LUX: When you’re not leading the group’s retail efforts, how do you like to spend your time?
Camille Waxer: My daughter and my husband play golf so I walk the courses with them which is pretty much every weekend and once a year I get my own clubs out but frankly that is probably once too many. I love going to the theatre, art galleries, dabbling in property development and sitting on the dock at my friend’s cottage in the lake area outside of Toronto; just enjoying the moment, it is magic.

Find out more: group.canarywharf.com

Flagpole Summer 18 Collection

New York based swimwear label, Flagpole is a Cali-surfer girl’s dream. Clean lines, block colours and bikinis that won’t fall off every time you dive into the sea. LUX asks co-founders Megan Balch and Jamie Barker how they do it.

Jaime Barker and Megan Balch

1. Describe the Flagpole woman.

The Flagpole woman loves to travel, always active in her pursuit for exploration. She is sophisticated, practical and embraces a sporty edge to her style. She appreciates quality in all aspects of her life.

2. How does the collaborative design process work?

We have the same taste but very different strengths in our designing. We like to choose the colour palette together and with that, the collection really starts to come together. It’s the blend of Megan’s focus on functionality and Jaime’s artistic vision that gives Flagpoleits signature design.

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3. What’s inspiring you at the moment?

It’s almost always architecture. We just returned from a trip to Chicago bursting with ideas and appreciation from their skyline.

The Lori top with Frida skirt from the Flagpole Summer 18 Collection

4. What comes first, functionality or style?

Honestly, it’s a combination. They are not mutually exclusive. Without artistic vision, Flagpole would not have its voice. Without functionality, it would not have its progress. We must have both to embrace and succeed in our story. So when we approach a new concept, both are simultaneously in conversation.

Read more: The ultimate mid-week escape at The Royal Crescent hotel, Bath

5. Your collections always have a distinct colour palette. How do you decide on the shades?

Colour is something we both find very emotional. We spend a lot of time working to find the perfect colour combinations that speak to what we want to feel in our collection. The painstaking process of balancing warm and cool tones is honestly one of the most exciting and aggravating stages. But we will work until we both feel that every shade is perfect.

The Gia one-piece from the Flagpole Summer 18 Collection

6. What’s next for the brand?

There are so many things in the works we can’t wait to share with the world. One we can say, and are excited to announce, is that this summer we’ll be launching our Men’s line!

View the collections and buy online at flagpolenyc.com

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

Tom Davies

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

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

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

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

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

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

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

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

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

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

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

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

The new Tom Davies store in Covent Garden

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

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

Model Will Chalker and his family star in the campaign for Acqua Di Parma’s newest fragrance, Colonia Pura

As famous for its striking yellow Art Deco packaging as its ‘colonias’, Acqua di Parma has developed over the years into a lifestyle brand that embodies the romance and artistry of Italian culture. Now under the leadership of new CEO & President, Laura Burdese the LVMH-owned brand is moving in new directions. Following the launch of Colonia Pura, the brand’s latest fragrance, LUX’s Digital Editor Millie Walton speaks to Burdese about the beauty of the Italian lifestyle, working with artisans and the future of luxury.

Acqua di Parma CEO & President Laura Burdese

LUX: All of Acqua di Parma’s products are handmade. How do you maintain a high-level of craftsmanship in the fast paced, technologically driven world?
Laura Burdese: I must admit that matching hand-crafted processes with an always faster time to market, while delivering outstanding products, is not easy at all, but this is our mission. We have some very clear convictions as a brand. We love things made slowly and by hand, so they develop a soul and we cherish the imperfect as the only true form of perfection. We admire the handcrafted, the slightly irregular, the almost perfect. As you may notice, labels on our products are not perfectly applied sometimes, this is because they are applied by hand. So are our iconic rounded hatboxes.

With this in mind, the high-level of craftsmanship resides in the ability to work closely with our artisans since the very inception of a product, controlling each phase of the process and not only the final outcome. I believe this is a very productive and stimulating way to manage the creative process, which let the essence of our products shine through.

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LUX: How does the city of Parma – the birthplace of the brand – continue to inform the company?
Laura Burdese: If you just have a walk in this beautiful Italian city, you can easily recognise that our iconic shade of sunny yellow resonates with the yellow façades of Parma’s historical buildings.

Elegance, beauty, harmony, mastery of craftsmanship: this is what you perceive in Parma and what the brand first experienced in this city, making its own from the very beginning in 1916. More than that, today Parma is a vibrant, lively Italian city, still a source of inspiration for us because here you can truly “smell” the warmth of the most authentic Italian way of life. And I believe that it’s the same spirit you can smell in all our fragrances.

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LUX: How do you see the luxury market developing over the next ten years?
Laura Burdese: It’s a very difficult question. Things are changing so fast nowadays that it’s already difficult to foresee what could happen in 1 or 2 years’ time, nothing is written in stone and 10 years is an eternity. However, I do believe that the luxury market will continue to grow, even if probably at a slower pace, therefore strategy will become paramount. Emerging battlegrounds will be e-business and data management, with the necessity to drive-up investments into luxury, bespoke and taylor made experiences and “lifestyle branding“.

LUX: Acqua di Parma supports many art forms and is culture partner of venues such as the Peggy Guggenheim Foundation in Venice. How do visual arts influence the brand?
Laura Burdese: Acqua di Parma has always supported the best of artistic creativity in all its expressions with publications, partnerships and events. As you properly mention, one particularly prestigious activity is our collaboration with Guggenheim Intrapresæ, a group of companies dedicated to sustaining the Peggy Guggenheim Collection.

We understand the importance of our cultural heritage and we keep considering it as a major source of inspiration in all our creations. In this respect, the values that Acqua di Parma espouses are perfectly reflected in Italian visual arts: the same adventurous spirit and the courage to set aside what is good in order to achieve the best. But also the ability to create styles that resonate with people, that communicate something new, something truthful, allowing the essence of things to shine through.

LUX: Your leather and home collections also promote hand-crafted products. Is it difficult to find traditional artisans nowadays?
Laura Burdese: Honestly, it’s pretty difficult. Making a creative process, such as the artisanal one, also effective and efficient is not simple, but this is how we work. This ambitious objective is possible only if you, as a brand, co-operate closely with your craftsman, motivating them, stimulating them and making them proud to work for you. And I believe this is what give our products such a shining soul.

Acqua di Parma’s latest fragrance, Colonia Pura

LUX: Do you have a favourite fragrance?
Laura Burdese: While I wear different Colonias, depending on the season, I prefer to wear Blu Mediterraneo Fico di Amalfi in summer. Usually I gravitate towards scents that are unisex or more masculine. Lately, I’m in love with Colonia Pura, our new fragrance, a light, modern interpretation of the iconic Acqua di Parma Colonia. True to Colonia, Pura opens with the brand’s signature citrus top notes of crisp bergamot, orange and petit grain. A heart of narcissus, jasmine and coriander, and base of cedar wood and patchouli give Colonia Pura a youthful energy.

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LUX: What’s next for Acqua di Parma?
Laura Burdese: We have always represented the most refined elements of the Italian way of life, but in an understated, discreet way. We are now leading the brand to the next level and keep developing this beautiful Italian story into a global success. Our new fragrance, Colonia Pura, opens a new chapter in the history of Acqua di Parma. Undeniably, Colonia Pura advertising campaign makes a turning point in the way we’ve always communicated. For the first time in our history, we presented an advertising campaign which features a man and his family.

We chose Will Chalker because we believe he embodies the spirit of the brand and conveys a strong yet modern and open masculinity. We were quite fortunate that Will’s family is in the campaign – his wife and young son add a lovely spirit of authenticity and warmth. The campaign images depict Will as a sincere and affectionate father and husband, values that are important in the Italian culture and resonate with the Acqua di Parma client.

As for the next launches, I cannot really reveal our new creations at the moment, but I can assure you they will express the Acqua di Parma personal signature and perfectly embody our brand equity. They will be scents of Italy and scents of life. The ultimate in sophistication: light and simple. Stay tuned.

LUX: How do you relax?
Laura Burdese: I do relax spending time with my kids and my husband. I know it might sound weird, but honestly I have a hectic life and quality time with them is just a gift. We do a lot of sport together, watch movies, talk, share experiences. It’s just about little things that make me feel complete and relaxed!

LUX: What’s the secret to Acqua di Parma’s success?
Laura Burdese: Acqua di Parma is so successful because it is much more than “just” a fragrance brand, it’s a way of life in its most sophisticated form. Our secret has always been moving forward into the future while keeping our DNA intact. We are very proud of our heritage, history and values but we never forget to keep an eye to the future and new generations. Our most important skill and what distinguishes us is the ability to bring style – specifically Italian style – into life.

acquadiparma.com

It may be the most ancient of all building materials but it’s holding its own in the modern world. go back to basics with these stunning pieces that prove you just can’t beat the power and beauty of nature.

The business model proves how important close bonds are to achieving success

For family-run objet d’art purveyor and producer Lotus Arts de Vivre, it is all about relationships – and not just within the family. YUEN LIN KOH catches up with the von Buerens

Their sprawling family home, hidden in the high-rise jungle of Sukhumvit 23 district of Bangkok, has for decades been a sanctuary for travellers from near and far. Rolf von Bueren, now 73, a prominent industrialist who arrived in Thailand from Germany in 1962, and his wife Helen – also of the same age and of Thai and Scottish parentage, are the hospitable couple who lavished dinners and parties on friends visiting Thailand from around the world. Witnessing and interacting with a cosmopolitan mix of guests passing through their doors as young children, elder son Sri and younger son Niklas von Bueren – the second generation of the family – perhaps understand better than anyone else that the world, huge with different and divergent cultures, can also be very small.

After all, the von Buerens were as cosmopolitan as it gets for a family living in Thailand during the sixties. Despite being seen as foreigners, given their European blood, they embraced traditional Thai culture with fervent passion. Their home, sitting on grounds purchased by Helen’s family close to a century ago, is a vision of classicism. Nine hardwood houses with soaring peaked roofs and generous wooden decks rise from the verdant 1.5 acre plot, and are connected by a maze of wood and stone paths meandering across a garden lush with tropical flora. When locals were looking to shed that heritage while they were moving forward with times, Rolf embraced it as someone enthralled with this new culture he was experiencing. The Catholic later even converted to Buddhism. His passion for Thai culture – which is passed on to his children and distinctly showcased in Lotus Arts de Vivre pieces – makes the von Buerens perfect ambassadors of the graces of the Thai culture. Yet at the same time, they are also familiar with the fashions and aesthetics of the European culture.

Sri and Niklas’ cosmopolitan views and tastes were also nurtured through their many journeys around the region. “We were always travelling to Indonesia, India and other destinations all around the Asian region even before they were fashionable,” recalls Niklas, now 41 years of age. “Father of course, was the disciplinarian. But the most valuable thing he taught us was curiosity. He has a curious mind and is always interested in art and culture, and would constantly be making us learn and enjoy other cultures, be it trying new things, eating new foods, visiting temples… All that learning was quite boring when we were young, you know, but today we know that this curiosity is the root of all of Lotus Arts de Vivre’s new developments.”

This galuchat (stingray leather) elephant stool has a touch of silver sterling to make it shine

For the benefit of the uninitiated, Lotus Arts de Vivre – though with a history of just 30 years – is one of the most revered names in the niche jewellery business of producing one-off pieces. In fact, it is one of the largest producers of single-piece jewellery in the world. Their statement pieces, adorned by members of high society and royalty alike stretching from Palm Beach and New York to London and Cannes to Beijing and back to Bangkok, are sought after worldwide. Elizabeth Taylor, Gore Vidal and even Gianni Versace are just some personalities who have fallen under its spell.

Each unique piece is inspired by nature and crafted from a fantastical combination of wonderous materials – from humble coconut shell to innovations of gold-fused glass, from sparkling diamonds, rubies and emeralds to iridescent scarab wings. Sumptuously textured, riotously colourful, outrageously glamorous and exquisitely graceful, they are pieces not to be carelessly worn by all and sundry. With the pieces from Lotus Arts de Vivre, you have to carry it with all your personality, lest it outshines you.

They are also producers of fantastical homeware – ranging from gold-leaf and lacquer-lined ostrich egg containers and black onyx and silver toothpick holders in the form of a miniature porcupine, to stools clad in stingray skin and a magnificent mahogany eagle that took 17 artisans and more than a year to carve and cast with 99 pounds of sterling silver.

For all its sophistication, Lotus Arts de Vivre has amateurish beginnings. It was set up as a mother’s way of keeping herself busy when her children had left the country to study abroad. Though of course, the von Buerens didn’t just set up a shop at any place; they placed themselves strategically at what is now the Four Seasons Bangkok. It was 1983 and the hotel, then the Bangkok Peninsula, was the place for anybody who is anybody to see and be seen. “My father encouraged my mother to start the first shop through selling pieces that have been purveyed and collected through their travels. But my mother is not a businesswoman – if anything, she didn’t want to carry on with this!” reveals Niklas.

Abalone Shell Bowl – The sterling silver grasshopper features onyx stones for eyes

Even though he and his brother were sent to boarding school in the United Kingdom when they were about 10-years-old, it is clear that unbreakable bonds with the family have been fostered even in their tender ages. Without the slightest bit of pressure from their parents, both Sri and Niklas eventually joined the company, in their own time. Sri, now 45, went on to study gold and silversmithing after his studies in the United Kingdom. “It was after I returned that we started our own jewellery workship; it then slowly morphed into a retail business. It was really run very much as a hobby until about 10 years ago, but a lot of the philosophy still stands, in that it is inspired by travel around the region, by places such as China, India, Japan, Indonesia and of course, Thailand.”

Niklas himself went to business school and entered the banking industry upon graduation. Spending four years in the finance industry, he saw the family operation very differently. Where others saw exoticism, he saw Unique Selling Points. Joining the company in 1998, after the economic crisis, he made it his mission to market the brand globally in a time when Asian aesthetics were not widely appreciated.

Together, the brothers injected new vigour into the company and created a brand – a name known today for its inimitable style that applies delicate, time-honed traditional craftsmanship to bold, innovative designs from a distinctly young spirit.

Through exhibitions, events, dinners – each month sees an average of two events, one held in Bangkok and another internationally – and naturally, their personal connections, the von Buerens keep their global audience enthralled with their unique sense of style. It’s a work that sends the entire family to different parts of the world: as Niklas speaks to us from their home office in Bangkok, Sri is at Mozaic Beach Club, one of the two boutiques in Bali where their pieces are sold – and attending Jeremy Irons’ Indonesian screening of his environmental documentary, “Trashed”. In the meantime, Rolf and Helen are in Europe talking to a carpet purveyor for their other retail business, Theatre of Indulgence, before moving off to London for an exhibition with Couture Lab, an impossibly chic retailer of exquisite luxuries, founded by Carmen Busquets, previously a major investor and board member of Net-à-Porter.

Dragon Ring – A key symbol of Chinese mythology, this dragon features diamonds, citrine and pink tourmaline

But their work is not just about spreading the word. It is really all about the pieces they produce. “Over the last 30 years, we have probably created some 10,000 pieces,” shares Niklas. “We are in the midst of doing a large format coffee table book, and in the process have spoken about our favourite pieces – as it turns out, some of the pieces dearest to each of us are custom orders for our clients. These pieces are special to us because there is a sentimental story behind each commission, and each piece holds a profound meaning for them. To us, the profound meaning comes from the fact that these people have entrusted us to create this for them.

“Our pieces are predominantly one-offs, 50 to us is a big number. Each piece – even those that are not bespoke – has a story behind it.”

And it’s not just a story of the wearer that it tells. Working with Her Majesty Queen Sirikit’s SUPPORT Foundation, Lotus Arts de Vivre collaborates with silk embroiderers of Thailand. The von Buerens family also takes years to cultivate relationships with master craftsmen such as a Chinese cinnabar lacquer artist based in a place five hours outside of Beijing; maki-e painters in Noto, Japan; and even Indonesian ivory carvers, now preserving their skills through carving coconut shells. Each meticulously crafted piece is a many-fold story of traditional craftsmen from Asia, each lending his unique touch to the piece, and in turn, leaving a little piece of his own story in it.

Each piece also tells very much a story of the von Buerens – their taste for Old World charms, their rich globetrotting life, their all-embracing spirit, their sense of wonderment. Their principle of being true to themselves extends to beyond the immediate family, now expanded with Niklas and Sri becoming fathers themselves. This is because every patron, every craftsman and everyone from the team of over 200 is considered family. Niklas for one is quick to declare that theirs is not a closed operation limited by blood ties – kindred spirits who hold the same values are also welcome to join them in Lotus Arts de Vivre’s journey into the future.

“It is the network that we created over the 30 years which has opened us to business opportunities – it’s an interesting way to move forward. We never really plan to go into something, we just naturally go into it because our customers were looking for these services or products.”

And perhaps therein lies the beauty of keeping things in the family. The brand isn’t developed – it is nurtured; the company isn’t developed, it grows organically. Certainly there are challenges to working with family members – even staying under the same roof can be a trial for some of us – but for the von Buerens, the pros outweigh the cons. “And it allows me to spend more time with my kids!” beams the usually-stern Niklas. And that alone, for anybody who understands the joy of a family, is priceless.

lotusartsdevivre.com

Lanvin is a great French fashion house that no longer (since 1992) creates Haute Couture, the most exclusive and bespoke of all the collections. However, some might say the artistry of its revered creative director, Alber Elbaz, makes couture irrelevant. When LUX asked Elbaz for his thoughts on the relationship between the house’s couture past and its high-end readyto- wear present, he gave us these measured — and exclusive — thoughts:

“For the latest collection [Winter 2013], I wanted to take the time for once and to treat it like real luxury. I wanted to go back to the preciousness, to the emotion, to the know-how of the French atelier.

“I wanted to show that couture is an experiment and it’s a laboratory of forms, of shapes, of colours, of fabrics. I wanted to show that it is something that is relevant and you can wear it with flat shoes. I wanted to bring that Parisian French feeling to it, of workmanship.”

“An atelier for me is mostly a laboratory with amazing people that in a few years will be retired. So we might as well enjoy it while it’s there. When I arrived at Lanvin, I realised that the ateliers were the same as the time of Haute Couture at Lanvin. Today, there are still people who have worked at Lanvin for the Haute Couture. This savoir-faire is extremely important. And I have a very close relationship with the people at the atelier. I don’t work with a head of seamstress like the other couture houses usually do.

“I found that it was better to speak directly to the ‘modéliste’ (pattern maker). So I am like the head of seamstress. I work with them every day, speaking of the problems they have on a dress, doing fittings three, four or five times on a model. And the studio is just at the top floor of the atelier, so it is very easy to meet each other. I love these amazing people who help me to realise my dreams day after day.”

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

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

Objeto de Deseo. Barcelona

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

Via Garibaldi 12. Genoa

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

Via Garibaldi 12

Ben Pentreath. London

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

Ben Pentreath, Bloomsbury, London

Normann Copenhagen. Copenhagen

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

Normann Copenhagen

Moooi. Amsterdam

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

Dali-esque displays at Moooi

Il Valore Aggiunto. Milan

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

Graanmarkt13. Antwerp

This unusual boutique in a residential neighbourhood in Antwerp houses founders Ilse Cornelissens and Tim Van Geloven in the top floor of their stately renovated row house whilst the remaining three floors they have thrown open to the public. The result is an intimate and warm shopping experience filled with a carefullly selected range of home accessories and fashion from cutting edge designers. The location also boasts an exhibition space, restaurant and outdoor terrace café where shoppers can relax with a glass of champagne.
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Graanmarkt13, Antwerp

Graanmarkt13

Mint. London

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

Hay. Copenhagen

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

Svenskt Tenn. Stockholm

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