A woman wearing a white dress standing next to a lit up tree in a desert
A woman wearing a white dress standing next to a lit up tree in a desert

Build your future-facing autumn wardrobe with these innovative eco pieces. Compiled by Ella Johnson

A pleated nude colour bag

Founded in 2019 in New York, vegan brand Alkeme Atelier combines the four elements (earth, water, fire, air) to make something new. This Water Moon Satchel is made from a scratch-resistant vegan leather, with a polyester lining made from 10 recycled plastic bottles.

A white shirt with a dark pattern on the sleeves and sides

This silk-twill Chloé shirt was designed with the National Museum of Natural History in Paris, the print inspired by an agate from its archives. It was made in partnership with Madagascan supplier Akanjo, certified by the World Trade Fair Organisation for prioritising employee pay.

chloe.com

Wide leg blue jeans

The New-York based, Uruguayan-born sustainable-luxury designer Gabriela Hearst has teamed up with E.L.V. Denim – a London brand that upcycles post-consumer waste denim – to create the chic 1970s-inspired Foster Jean, produced in East London.

gabrielahearst.com

off-white trainers with writing on the side

These genderless grape-leather sneakers by digital-native sustainable brand Pangaia are made with waste from the Italian wine industry. Responsibly produced in Portugal using water-based glue, their natural cotton laces come with 100 per cent recycled plastic tips.

pangaia.com

red cropped puffer coat

British label Stella McCartney – a mainstay of the ethical and sustainable fashion scene – has created this stylish puffer jacket, the fabrication of which majors on 100 per cent forest-friendly viscose. It looks as cool in the city as it does in high-performance environs.

stellamcccartney.com

red sunglasses with transparent lenses

Based between Byron Bay, LA and Paris, vegan eyewear label Velvet Canyon makes its frames from acetate, which is derived from cotton and wood pulp. These retro sunspecs come with recyclable lenses, a vegan-leather pouch and one per cent of profits go to charity.

velvetcanyon.com

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

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Reading time: 4 min
A woman in a yellow top and grey blazer standing in a kitchen
Sakshi Chhabra Mittal is the founder and CEO of FoodHak, a startup revolutionising the food industry by combining science, tech and traditional Ayurvedic principles to make healthier meals more accessible to all. Here Sakshi, speaks to Samantha Welsh about starting an innovating company and the potential for food science

LUX: What were your first entrepreneurial steps?
Sakshi Chhabra Mittal: I started working with doctors while in a full time job, to create a health-focussed line of food that was anti-inflammatory, low glycaemic index, gluten-free, dairy-free and free from refined sugars. Their patients heard about this and asked to subscribe. This pushed me to do a soft launch from my home kitchen; intended to be one week, it stretched to over four months with strong demand (purely word of mouth) and nearly 100% retention. I then found a kitchen near my office, woke every day at 5am to start operations with a part-time chef, kitchen assistant and an operations team. We learned a lot, most importantly, if you are building a business in the D2C space, your product becomes your life!

Follow LUX on Instagram: luxthemagazine

LUX: How did this evolve into a tech specialism?
SM: While I was studying for my MBA at Wharton in US, I was fascinated how tech can help scale science and business innovation. After graduating, I joined an early-stage tech VC where I invested in Babylon, Deliveroo and Darktrace, and was then invited to join SoftBank in Silicon Valley where I used my biotech training to invest in companies innovating in oncology, immunology, data science.

soups and curries with rice in bowls

LUX: What brought about the pivot to food science?
SM: I had studied diseases professionally but personally I developed a rare liver breakdown during my first pregnancy. Known as OC, Obstetric Cholestasis recurs in subsequent pregnancies in more than 90% of cases. There is no known cause or cure but as our bodies are machines, science can offer answers, so I did clinical research into food types, changed my diet and managed to avoid OC recurring. I had found a gap in the market! Food science can help us potentially reduce chronic disease, relieve government healthcare budgets, live more sustainably, foster education in nutrition.

LUX: Clinical evidence links poor gut health with inflammation and disease; how does FoodHak’s proprietary tech bespoke complementary dietary solutions?
SM: We have built proprietary data models, taking all published clinical research on food, and making ingredient-disease links. This is our personalisation engine. We are launching personalisation features on our website, where people select meals according to their health goals, for example, to aid in adjusting cholesterol, blood pressure, immunity. We are also developing a personalised AI recipe generator App.

LUX: Tech or taste, what comes first?
SM: TASTE! Food is an experience, you have to get the taste right, everything else like lifestyle changes and customer retention follow on.

A curry in a bowl

LUX: How does FoodHak fit within the fast-growing plant-based nutrition market and what is your USP?
SM: We are a first mover in the ‘food as medicine’ space. We bring clinical research to the table via delicious dishes that can help people live a long, disease-free life. Tech companies tell you what you should and shouldn’t eat based on data sets but none completes the loop and personalises food. Our proprietary data models create bespoke recipes, our AI recipe generator varies and extends choices. The market opportunity is the vast population suffering allergies, inflammation, sugar-related issues etc. FoodHak’s dishes are plant-based using around 30 varieties with superfoods. We focus on a low glycaemic index, being gluten free, dairy free, free from refined sugars, we use science and tech, and we deliver bespoked gourmet meals to your door!

LUX: How do you achieve operational efficiencies with this model?
SM: We use sophisticated food packaging technology where we heat seal food in pouches. This gives us a naturally longer shelf life on fresh food and helps us with our zero-food waste policy. Our customers enjoy the extra flexibility in the shelf life as well. This enables us to run large-scale batches in food manufacturing, which reduces workshifts, encourages less frequent deliveries, and so saves on operational costs.

food dishes in bowls

LUX: How has working in diverse industries influenced your leadership style?
SM: We make a deliberate effort to interview women to join the company. I learnt from working in finance that if you don’t seek out women to join the company you will never have an equal opportunities workforce. Over 50% of our employees are women. I am also proud that virtually 100% of our workforce is diverse, including minorities and people from developing nations. Diversity of opinion around the table is critical to making the right decisions.

LUX: Has Covid changed corporate culture at FoodHak?
SM: I believe to build a strong culture and values from day 1 in a start-up is impossible with people working from home (WFH). The feeling of connection and ownership comes when you sit with your team and see them problem-solve in their respective areas. You see your product being made and packaged with love. You see the values exhibited by the senior leadership on a day-to-day basis. There is no reason to be WFH unless you really need to. It’s also important that each employee at FoodHak has equity from Day 1. They have a sense of ownership over the business, the product they are making, they want to come into work and give it their best shot to make the company succeed. We believe that the early employees have sacrificed so much to help build the product and they should be growing their wealth as the company grows.

a chocolate cake with a piece on the spoon.

LUX: How successful have you been in attracting investment?
SM: We went out to raise $5M but were oversubscribed and ended up extending the round. It became clear that our proposition is strong, the product is differentiated, and the time is now to lead the future development of food, which is not into fake meats or other processed alternatives. It is real food powered by science and tech. We have one of the best cap tables (possibly) in Europe, with Venture Capital firms like First Minute Capital, Urania Ventures, strategics like Holland and Barrett, and influential business angels like CEO of the Vision Fund, CEO of Palo Alto Networks, Jim Mellon, Jeremy Collar, Mervyn Davies, Lydia Jett and others!

Read more: Chef Rasmus Kofoed: The Vegetable King

LUX: How do you see tech continue to drive FoodHak’s success forward?
SM: We can use this tech to create any food in any category really quickly, while continuously adding variety on a weekly / monthly basis. We can also use ingredient swaps to create personalised recipes at scale. So, think of us as the new age, health-focussed, food conglomerate that’s powered by science and tech!

Find our more: foodhak.com

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Reading time: 5 min
Man
Windmill

Octopus is one of the largest owners and managers of renewable energy assets in Europe

As the International Energy Agency warns that the worst of the energy crisis may be yet to come, governments around the world are stressing the importance of accelerating the move to renewable energy. We speak to Greg Jackson, CEO of Octopus Energy Group, the technology-to-investment energy platform, about the importance of government intervention in energy policy, the role of technology, and how a greener future could be nearer than we think

Greg Jackson founded Octopus Energy in 2015 with a view to using technology to make the green energy revolution faster and cheaper for consumers. Now worth approximately $5bn, the privately held company supplies renewable energy to three million households worldwide. It is also one of the largest owners and managers of renewable energy assets in Europe, with more than £4bn under management. Jackson credits the company’s success to what he calls the “en-tech” model whereby proprietary technology plays a leading role in the company’s value offering. Here, he speaks to Ella Johnson about why there can be no alternative to radically updating the power grid and large-scale investment in renewable energy.

LUX: How will Octopus innovate the energy sector in the long term?

Greg Jackson: Octopus’ long-term goal is to generate roughly as much as its users use, with Kraken, our proprietary technology platform, matching generation and consumption at any time and location to make the most efficient renewable energy company possible.

A decentralised workforce allows us to greatly increase the pace of innovation and learn from many people with many different perspectives. We are a cloud-native company and have had a very successful remote customer operations team for over four years now. This allowed us to ensure we had processes and communication platforms in place when lockdown hit, and it has been absolutely vital as we’ve grown internationally, building successful Octopus Energy hubs in several countries around the globe.

Follow LUX on Instagram: luxthemagazine

So far, we deliberately haven’t made a profit. Instead, we’ve focused on scaling the business, investing in new green technologies and making sure there is enough support available to our customers who are struggling. We are lucky to have investors that believe in our long-term goal and are absolutely committed to help us achieve this, so we don’t have to worry about short term profits to achieve our number one purpose, making green energy cheap energy around the world.

Waterloo Station

Octopus is working to digitalise the power grid through its proprietary Kraken technology

LUX: When did you realise the energy sector was ripe for a tech revolution?

GJ: I had built digital platforms for e-commerce and other sectors before to digitise and increase efficiency, and I quickly realised that applying the same technology to energy would greatly improve the way things are done in the sector.

LUX: What makes Octopus’ operating business model unique?

GJ: Our operating model is unique thanks to Kraken, our technology platform which we built from scratch. Where other suppliers rely on convoluted solutions for different functions, Kraken integrates them all into one giant robot, offering efficiency, better customer service and end-to-end management of the whole supply chain to allow us and our licensees to save costs, take better care of customers and drive the green energy revolution.

But we know we can’t drive change quickly enough if we’re on our own. So we’re licensing Kraken to other large energy companies across the globe who share our vision of a cleaner, better energy future, including E.ON, EDF and Origin Energy.

Windmill

Octopus has licensed its Kraken technology to support over 20 million customer accounts worldwide

LUX: How must existing infrastructure be adapted to accelerate this shift?

GJ: We need to digitise the power grid so that we can use it more efficiently, cutting bills and making the most of green electrons when they are abundant. The current grid was built to manage a few hundred fossil fuel power plants. We need to make it fit for a decentralised energy world in which millions of electric cars, rooftop solar panels and home batteries will be connected to it, importing and exporting energy from the grid.

LUX: How does Octopus overcome the unreliability of wind and solar sources?

GJ: The key to unlocking a cheap green energy future is to build a digital system that is interconnected and flexible. The sun doesn’t always shine and the wind doesn’t always blow where we are – but they always do somewhere in the world.

Read more: Dimitri Zenghelis on Investing in the Green Transition

Working with other countries and layering different sources of green energy and ways of storing it (like batteries) will allow us to create a system in which we can make the most of solar and wind energy where they are abundant. For example, we invested in Xlinks, the company building the world’s largest subsea power cable. Once built, it will deliver 3.6 GW of green power from Morocco to the UK for an average of 20 hours a day – enough energy to power about 7 million homes. We need more large-scale renewables projects like this.

Protester

Renewable energy is the only way to increase our energy security and stop climate change, says Jackson

LUX: One of your tariffs provides carbon neutral gas. What do you say to those who argue carbon offsets are not a real substitute for climate action?

GJ: We have carbon offset our Super Green customers’ gas usage in a few different ways over the years: helping reforest and conserve vast areas of the Amazon, and working with our main offsetting partner, Renewable World, to bring innovative renewable energy technology to fuel-poor communities worldwide.

But while it has very worthwhile applications and can help a lot of people, carbon offsetting is only part of the puzzle in helping fight climate change. It cannot decarbonise the whole energy system and move us away from fossil fuels. For that we need more innovative technology to make energy greener and cheaper for everyone.

LUX: Is natural gas an adequate transition fuel?

GJ: In the short and mid-term, we still need natural gas as a backup energy source for renewables. But in the long term, we will have to wean ourselves off gas completely if we want to increase our energy security and stop climate change – and we can only do that if we go hell for leather for renewables now.

Man

Greg Jackson, Founder and CEO of Octopus Energy Group

LUX: How can policy speed up the mass uptake of renewable energy?

GJ: Historically, the creation, testing and licensing of a vaccine took around 15 years. With Covid, we managed to get the 15-year process of developing a vaccine down to one year. We need to do the same with wind energy. Due to planning approvals and grid connections, it currently takes on average 5-7 years to build and connect a wind farm. This could be done in one year. Do that now and we will literally start seeing bills come down next winter.

Read more: Inside Konstantin Sidorov’s London Technology Club

LUX: What role can renewable energy procurements play in corporations’ broader net zero goals?

GJ: Through our Renewables investment arm, we sign a number of agreements with large energy users to switch to green energy. Those making the choice to go green are taking massive steps forward for decarbonisation agendas across Europe – they are the trailblazers of their industries, and soon the rest will follow their lead.

Greg Jackson is founder and CEO of Octopus Energy Group

Find out more: octopusenergy.group

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Reading time: 6 min
vineyard on hillside
man in suit sitting on edge of table
Utsava Kasera is a next-gen portfolio entrepreneur who has put his faith in his latest investment: a premium Prosecco, aimed at shaking up the drink market in the UK and US. The Indian-born, UK-educated citizen of the world speaks to Anna Tyzack about his business portfolio across tech, fashion and hospitality, and his new direction in sustainability

Portrait photography by Charlie Gray

It was Phantom, Mandrake and Tintin comics, or rather the lack of them in India, that drove Utsava Kasera to start his first business at the age of 12. His group of friends were as obsessed with comics as he was, and as there weren’t many available locally, he started a small library. “When my father travelled to the big cities like Delhi and Bombay [Mumbai], he’d bring one back for me; if I did well in my exams, he might bring back two, and I’d rent them out to my friends,” he explains. “The library was a good lesson in entrepreneurship: where demand exceeds supply, there is always the chance to start an exciting business.”

It is this entrepreneurial spirit that has driven him towards his venture, an intriguing attempt to shake up the drinks market. While prestige champagnes have proliferated, and the market for the cheaper Italian sparkling wine, prosecco, has expanded, there has been no crossover between the two categories. Until now: Kasera has invested in a premium prosecco as a rival to champagne.

Follow LUX on Instagram: luxthemagazine

The rollout of Ombra Di Pantera is now being driven in the UK. “The UK is one of the biggest markets for prosecco – more people drink it than champagne. And yet there are few luxury options, few competitors to grande marque, non-vintage champagnes like Moët et Chandon or Veuve Clicquot,” he says.

Ombra Di Pantera is the answer to this gap in the market – it’s the finest quality prosecco and will soon be available online and then in a select number of London’s bars and restaurants. “Our vineyards produce the most refined Glera grapes, used in the best proseccos, and the family in charge is passionate about production and cultivating and harvesting the grapes, and they have passed this passion and their techniques down through the generations,” he explains. The name pays homage to the Venetian term for prosecco, ombra de vin, ‘wine’s shadow’ – it is said that in ancient times the traders in Piazza San Marco kept the wine cool by storing it in the shadow of the Campanile. “Prosecco is faster to produce than champagne and it is drunk when it’s younger, but the best ones are exceptional,” Kasera says. “I’ve learnt from whisky that age doesn’t necessarily define the quality – it’s about the vintage and the methods of production.”

vineyard on hillside

The winery at Conegliano Valdobbiadene, Veneto

As with all Kasera’s investments and business ventures, the opportunity to create Ombra Di Pantera was a case of right place, right time. He was introduced to the Italian family who had been cultivating the beautiful Ombra Di Pantera vineyards for many generations and he immediately saw the potential. He had similar good fortune, he says, when he met Kevin Pietersen for coffee and soon signed up to invest in the cricketer’s ethical fashion label, SORAI, set up to preserve and protect endangered species; and when he met the founders of the Singapore private members club, 1880, in which he is now an investor and advisor.

Read more: Olivia Muniak on how collective dining brings us together

Kasera says his own father drilled into him early on that you make your own luck in life. From nothing his father built up a successful chemical company supplying the chemicals to manufacturers of a detergent that is now a well-known name in northern and eastern India, a market of hundreds of millions of consumers. As a boy, Kasera used to love hearing his father talk about his world travels and the people he met along the way. “In 1972 he flew to Afghanistan and hitchhiked to the Munich Olympics; in Munich he met a guy on a bus who he stayed with for the next three months; they stayed in touch and that same guy went to my sister’s wedding in India,” he says. “It’s stories like these that showed me how small the world is if you take the time to explore it. I knew from the start that a 9-to-5 job wasn’t going to be for me.”

tractor on a vineyard

At school Kasera was a sports star, being the city captain for table tennis and a keen cricketer. After graduating from university in Delhi, he studied at the London School of Economics and gained a master’s in international business and emerging markets at the University of Edinburgh. “It was overwhelming at first – the language, the curriculum and the different culture – but it was good experience for me; there were people from 26 countries in my class.” Along with gaining his master’s he made a cosmopolitan network of friends and learnt to appreciate whisky and cognac. He was recently listed on the University of Edinburgh’s Alumni 100, a showcase of its Business School’s most inspiring former students and is also now an advisor to the British Council’s Creative Spark Higher Education Enterprise Programme. “It’s great to be able to help motivate young potential entrepreneurs to realise their potential,” he says.

His main investment focuses are now tech, luxury and environmentally sustainable solutions; in 2011 he worked on a sustainability project in the chemical industry in Switzerland and Germany, fostering in him an interest in renewable energy. “It’s been a process of learning as I go along,” he says. “I’ve made some bad investments that didn’t turn out as I hoped but I’ve got a good feel for it now – it’s so rewarding when things go well.”

italian landscape

The vineyard where the Glera grapes for Ombra Di Pantera are grown.

The entrepreneurial landscape has opened up dramatically since he left Edinburgh, he continues, largely due to social media. When used intelligently, social networking platforms break down so many boundaries, he says, allowing entrepreneurs and investors to reach a huge audience without expense. “It enables things to happen out of the blue; it brings people and opportunities together,” he says.

Read more: Pomellato’s Kintsugi collection imagines a more sustainable jewellery industry

Some of the truly unique opportunities, however, are still found away from social media and screens, he says – the bourbon whisky that he discovered in Austin, Texas through word of mouth, for example, and the Pinot Noir he tried in Armenia that he says would rival a good red Burgundy. For entrepreneurial inspiration, Kasera thus aims to explore five new countries a year; so far this year he’s visited Armenia, the Seychelles and Northern Ireland and Georgia. He also reads extensively and makes a point of expanding his network wherever he is in the world, often choosing to stay in Airbnb accommodation or with friends rather than checking in to a hotel.

man leaning against fence wearing a suit

Unsurprisingly, the pandemic put a damper on his travels. While this was frustrating in many ways, forcing him to put investment and philanthropic plans on hold, the time at home helped him gain new perspective. “I like to be busy; I found myself spending a lot of time thinking about what I’m going to do in the future, what’s on the horizon,” he says. “I read the Difficulty of Being Good by Gurcharan Das, which is a secular reading of the great epic, Mahabharata. It relates so much to modern times, which I found very inspiring.” He also taught himself to cook, perfecting Indian-style scrambled eggs with coriander, spices and tomato, and, with Ombra Di Pantera in mind, completed a WSET level 1 online wine course.

As the world opens up again, Kasera is looking forward to Ombra Di Pantera’s unveiling in New York City, where he aspires to open a prosecco bar to give more people the chance to sample fine prosecco. “I hope it will be a brand ambassador for Ombra Di Pantera as well as hosting small pairing lunches and dinners,” he says. “I’d like to see Ombra Di Pantera inspiring a whole new area of luxury proseccos.”

What’s also sure is that it’s impossible to tell what sector new generation entrepreneurs like Kasera will be investing in. Sector-agnostic, and symbolic of his generation, truly global, he looks for opportunities that expand and stretch the luxury sector, increasingly with sustainability in mind. He remains tight-lipped about his next ventures, but I suspect they will be increasingly impactful in the new world of luxury.

prosecco bottles

 

The premium Prosecco

Ombra Di Pantera’s Prosecco Superiore Brut Millesimato DOCG aims to conquer the hearts of aficionados of champagne and other high-end sparkling wines, who may not previously have considered a prosecco. The Glera grapes that go into this wine are grown in the foothills of the Alps north of Venice, in an area with sunny days and cool nights. This gives a balance of ripeness and freshness. The result of hand-harvesting, careful selection of grapes and a personalised winemaking process is a sparkling wine that is creamy and light.

My favourite indulgence

“Depending on the time of day and the mood, it’ll either be a whisky or a cognac. As a ritual before dinner with friends, or if I’m admiring a view, I’ll drink a glass of Louis XIII 100-year-old cognac. It never fails to get me in the right mood. Whisky is a passion I share with my friends; we taste it together, we collect it and we exchange notes.”

Find out more: ombradipantera.com

Thank you to Nobu Hotel London Portman Square for providing The Nobu Penthouse for our shoot. Styling by Grace Gilfeather; grooming by Brady Lea (Premier Hair and Make-up).

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

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Reading time: 8 min
portrait artwork

Jimi Hendrix, London, 1967, Gered Mankowitz

With many national lockdowns reinstated across the globe, the majority of this year’s festive shopping is  taking place online. Launching her new monthly column for LUX, artnet’s Vice President of Strategic Partnerships Sophie Neuendorf discusses the benefits of buying and gifting art remotely

Sophie Neuendorf

Nothing is more enduring or powerful than a work of art. Throughout history, it has been artists who have documented the zeitgeist, from religious convictions to frivolous fêtes or times of social unrest and upheaval. It is also always artists who push boundaries and promote an atmosphere of tolerance and peace.

Follow LUX on Instagram: luxthemagazine

Especially now, at a time when we’re all forced to be secluded and are closing our houses and boarders, art has the power to open up a cross-cultural exchange and bring hope and light into our homes and our hearts. What’s more, art has the potential to provoke important discussions around current issues such as religion, gender, race, and politics. With the recent presidential election, and the ongoing Black Lives Matter, and Me Too movements, these topics will remain very current leading into this year’s holiday season.

For many of us, the holiday season is one of the most wonderful times of the year. 2020, however, is confronting us with unprecedented new challenges, and also an element of sadness and caution. Many of us will not be able to visit our grandparents; some of us won’t be able to travel home for the holidays; and a few of us will have suffered the loss of a family member or friend this year.

abstract art

Untitled, 1964, Sam Francis

So, the question is: how do we celebrate the holidays pandemic style? By surprising our loved ones with witty, thoughtful gifts to make them happy for months, and years to come! Thanks to online technology it has never been easier to buy and ship directly, allowing us to get into the spirit of giving without the anxiety of social distancing.

Read more: Three major art patrons and a fine art photographer are transforming London’s shopfronts into a pop-up gallery

Whilst sites such as net-a-porter.com and matchesfashion.com provide excellent browsing material, why not try something new this year and invest in an artwork? Buying art online isn’t as complicated as it might seem. Although the art market has been slowly moving online over the past few years, the coronavirus pandemic has accelerated this transition. Now, with the help of cutting-edge technologies such as AR or VR, you’re able to visualise an artwork within a room and to scale, to ensure that the piece you love is perfect for your home. You can also chat with a specialist throughout the research and bidding process.

artwork of forest

Study for Canadian Forest, Robert Longo

At artnet, for example, we offer a range of ongoing auctions which you can browse and bid at leisure from the comfort and safety of your home. From David Hockney to Richard Prince and KAWS, from Modern & Contemporary fine art to photography or abstraction, you’ll be spoilt for choice. It takes two minutes to register and then, you’re ready to go. Once you place a winning bid, your funds will be safely held by artnet in escrow until you or your loved ones receive the artwork in a perfect condition. And yes, there’s a returns policy. Now go ahead and treat yourself or someone else!

Sophie’s 5 top tips for buying art online:

1. Learn how to recognise quality and prioritise it over everything.
It’s much better to own one great artwork than five mediocre works. The beauty of bidding online is that it removes the time pressure of a live auction room. Take your time to browse, choose, and place your bid on that one piece you love.

2. Be patient and wait until a work of high quality within your budget comes up for sale. Then be prepared to act decisively and quickly. Don’t get discouraged if you miss out or end up being outbid; the next opportunity is always around the corner.

3. Study prices and the market extensively so you can spot good deals when they come up. At artnet, we have the art market’s most extensive and trusted price database, which is an excellent research tool. If you don’t have time, get advice from one of our specialists who are very happy to help, or work with a reputable advisor.

4. Take transaction costs into account prior to bidding. Buyer’s premium, shipping, insurance, taxes and duties can add significant costs to your acquisition. We can calculate all that for you at artnet.

5. Enjoy yourself. Art collecting is excellent fun!

Browse artnet’s current auctions via artnet.com/auctions

 

 

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Reading time: 4 min
Octopus tentacles
Exotic mushrooms

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

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

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

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

Follow LUX on Instagram: luxthemagazine

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

ovens displayed in art gallery

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

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

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

Fresh black lobster

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

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

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

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

Octopus tentacles

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

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

factory worker

Gaggenau’s factory on the French-German border

Precision Engineering

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

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

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

Metalwork in a factory

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

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

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

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

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

factory worker bending metal

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

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

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

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

Find out more: gaggenau.com/gb

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

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Reading time: 10 min
Artist at work sculpting marble
Artist at work sculpting marble

One of the participating artist’s in the process of sculpting marble at the inaugural edition of Jeddah’s Red Sea Sculpture Symposium

Saudi Arabia is working hard to rediscover its cultural roots, promote contemporary art and establish itself as a cultural destination, with a series of new art events and residencies. Following on from the inaugural edition of Jeddah’s Red Sea Sculpture Symposium, Art & Digital Editor Millie Walton investigates the rise of the coastal city as a new cultural hub

In recent years, Saudi Arabia has been creating for itself a cultural renaissance, catalysed by the reforms of Crown Prince Mohammed Bin Salman, the country’s 32-year-old de facto leader. In 2018, the Kingdom opened the doors to cinemas after a forty-year hiatus, announcing the start of a new vision for the country’s ongoing cultural development, with an aim to support local craft as well as attract international creatives. Led by the Ministry of Culture, the vision seeks to reposition the country it as a dynamic place for business and leisure, responding to the demands of a new, youthful generation who are tech-savvy and plugged into the pulse of global culture.

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Jeddah is one of the main hubs in this strategy. Once seen as culturally conservative, the city is now home to hip contemporary art galleries, graffiti murals and public art installations. Later this year, Art Jameel, a nonprofit organisation set up by the wealthy car-dealing family of the same name, is due to open Hayy (derived from the Arabic word from neighbourhood), an ambitious creative complex with studios and exhibition spaces, whilst the Ministry of Culture launched its first arts initiative in the city last year in the form of a cross-cultural live-sculpting event.

Artists sculpting marble sculpture

Artist sculpting marble

The artists could be watched live sculpting at a location in Jeddah’s historic district of Albalad

The inaugural Red Sea International Sculpture Symposium invited twenty international and local artists to hand sculpt free-standing monoliths over a three week period (21 November – 10 December 2019), using blocks of white marble imported from the Sultanate of Oman. Participants were asked to create artworks in response to the city’s geographical location and historical heritage as a trading hub, whilst also drawing on the diversity of its contemporary society.

Abstract marble sculpture on column

Agnessa Petrova, 2019

Marble sculpture on black plinth

Takeshi Kubo, 2019

The sculpting itself took place between 8am and 6pm at a location in Jeddah’s historic district and UNESCO heritage site Albalad, purposefully distanced from the city’s main cultural attractions and tourist hotspots so as to welcome new art audiences whilst also providing artists the opportunity to interact with local residents throughout the day.

Artist free sculpting marble structure

‘This global interaction reflected Arab and international cultural experiences on the artistic and cultural scene in historical Jeddah. This enriches the local scene because it shows positive results and contributes to the recipient’s diverse visual nutrition,’ commented Issam Jamil, one of three participating Saudi sculptors along with Rida Alalawi and Kamal Almualem. European artists included Michael Levchenko (Ukraine), Kamen Tanaev (Bulgaria), Jose Carlos Cabello Millan (Spain), Mario Lopes (Portugal), Jo Klay (Germany), Sylvain Patte (Belgium), Butrint Morina (Kosovo), Aggnessa Petrove (Bulgaria), Anna Maria Negara (Romania) and Anna Rasinska (Poland) with Asian artists Takeshita Kubo, Fan Chilung-Lien and Lin Li Jen, and Arab artists Ali Jabbar (Iraq), Hisham Abdulmuty (Egypt) and Hany Fisal (Egypt).

Read more: Why we love Hublot’s limited edition spring timepieces

Whilst all of the selected artists’ practices incorporated stonework, each participant specialised in different materials and techniques, and for some, it was their first time carving marble, a material chosen for its aesthetic appeal, durability and historic significance.

Abstract marble sculpture

Ali Jabbar, 2019

The finished pieces varied in both scale and style with some reflecting the city’s architectural magnificence and the natural environment of the Red Sea, whilst others evoked modern and abstract minimalist forms.

Still standing in the location in which they were originally sculpted (with plans to relocate around the city in the near future), the works appear haunting and luminous against the vibrant colours and textures of Albalad, providing a striking symbol of the city’s new-found creative energy.

Abstract white marble sculpture

Anna Rasinska, 2019

An introduction to Jeddah’s wider cultural scene

Jeddah’s Art Residency Initiative

This year, the creative momentum is set to continue with Jeddah’s newly launched Art Residency Initiative, which invites artists to attend six-week residency programmes at various points across the year. Alongside the residencies, the city will also feature events, showcasing the Ministry of Culture’s annual theme: the ancient artistic practice of Arabic calligraphy.

21,39 Jeddah Arts

Organised by the Saudi Arts Council, 21,39 Jeddah Arts is a contemporary art festival featuring gallery exhibitions, workshops, and panel discussions with many of the region’s leading creatives. This year’s edition (open until April 19) is entitled I Love You, Urgently and focuses on the global climate emergency with artists presenting a diverse collection of work including everything from Islamic painting techniques and calligraphy installations to ethically-made clothing and digital print collages.

Red Sea Film Festival

Whilst the launch might have been postponed, the inaugural Red Sea Film Festival promises a diverse 10-day program of screenings and talks, supporting emerging and established talent from Arabic and International cinema.

Hayy: Creative Hub

Set to open in the winter of 2020-21, Haay: Creative Hub is a 17,000-square-metre arts complex developed by non-profit organisation Art Jameel. Designed by UAE design studio waiwai, the space will include art and design galleries, performance and comedy clubs, cafes, artist studios and a theatre as well as an independent film cinema designed by Jeddah-based practice Bricklab.

To learn more about the Ministry of Culture’s forthcoming initiatives, visit: moc.gov.sa/en

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Reading time: 4 min
Stainglass windows lining a corridor
Portrait of a man against a white background

French designer Philippe Starck. Image by JB Mondino.

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

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

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

Contemporary plastic chair against white background

Starck’s AI Chair for Kartell

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

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

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

Stainglass windows lining a corridor

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

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

Contemporary artwork hanging on wall

Photograph of wine glasses

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

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

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

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

Woman spitting fountain of water against black background

Artwork etching with mulitcolours

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

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

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

Louis Roederer and Philippe Starck

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

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

This article was originally published in the Spring 2020 Issue.

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Reading time: 8 min
Contemporary style kitchen with stools
Showroom kitchen with contemporary interiors

The Gaggenau stand at the EuroCucina 2018 exhibition

Man hanging out of white frame

Stephen Bayley

Of all rooms in the house, kitchens demand the best design for function as well as looks. Cultural critic Stephen Bayley reveals their modernist origins and meets kitchen appliance-maker Gaggenau’s head of design Sven Baacke to talk about his design thinking, what luxury means and the poetry of fridges

No-one is ever going to want a virtual dinner. The one thing electrons, sensors, code, AI, VR and haptics will never provide is a perfectly executed, steaming hot perdiz estofada Casa Paco, a Madrileño classic with fumes of wine, garlic, onions and bacon, garnished by an improbably big handful of parsley. Not to forget its ideal companion, a perfectly chilled 2016 Finca Allende white from Rioja.

For this reason, the domestic kitchen with its hob, oven and fridge will always remain a part of civilised life. App-driven delivery services may flourish on their wobbly bicycles, but they have more effect on the precarious margins of the traditional restaurant trade than the home cook with his gastronomic library, bleu de travail pinafore and wooden spoon.

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Despite changing behaviour – going out, staying in, hot yoga, crazy exercise regimes, fasting and peculiar diets – the kitchen is a remarkably resilient feature of building design. Although some experts estimate that New Yorkers spend 130 per cent more on eating out than other Americans, the fact remains that every new apartment in Manhattan is still equipped with an impressive new kitchen.

Man standing in front of factory background

Gaggenau’s head of design Sven Baacke

And that probably means a new German kitchen. Like the German car, the German kitchen has reached a global archetypal status that Carl Gustav Jung would have appreciated and understood. Never mind that the same new German kitchen in that vertiginously tall apartment building on East 57th street is rarely used and never contaminated with actual hot food, it is a powerful and universally understood status symbol. Why? Because the design and manufacture of a kitchen and its equipment combine the disciplines of architecture and industrial design at which, at least in the modern era, Germans have so excelled.

It was in 1926 that Grete Schütte-Lihotzky unveiled her Frankfurt Kitchen, a functionalist masterpiece designed for that city’s ambitious socialist housing programme. Exploiting industrial processes and materials, it was tiny, ergonomic, modular, intelligent. It was everything the Bauhaus claimed but often failed to achieve.

Contempoary style refrigerator

The Vario 400 refrigerator

True, the American dream kitchen, with its pastel-coloured and chrome-plated laboursaving appliances attended by a blonde model in a flared and pleated A-line skirt, presented consumers with an alternative in the 1950s and 1960s, but the Frankfurt Kitchen set the enduring design standard. So much so, that examples are in the permanent collections of New York’s Museum of Modern Art and London’s Victoria and Albert Museum.

Vintage photograph of a kitchen

The Frankfurt Kitchen from the 1920s

In a nicely paradoxical way, this austere design language has become the ultimate luxury product. This is because luxury today is not about excess or vulgarity, but of having time to spare for, among other things, cooking.

Now, I want you to imagine Sven Baacke riding his adored 1962 Lambretta scooter, a machine he enjoys dismantling and reassembling, around Munich. Baacke is the Gaggenau designer. He was born in 1974 and attended the Staatlichen Akademie der Bildenden Künste in Stuttgart.

This is an inspirational city for a design education. At the beginning of the last century, the local museologist Gustav Pazaurek organised an influential exhibition called ‘Geschmacksverirrungen im Kunstgewerbe’ (Errors of Taste in Design). Pazaurek hated fuss and admired logic. And in 1927, the great Mies van der Rohe participated in Stuttgart’s magnificent Weissenhofsiedlung, or Weissenhof Estate, a real-life demonstration of architectural possibilities embodied by the International style.

Today, Baacke says his favourite building is Mies’s pavilion built for the 1929 International Exposition in Barcelona. And, of course, Stuttgart is the city of Porsche and Mercedes-Benz, with all the industrial discipline and design prowess that suggests. And if Baacke’s new home is Munich, remember this is the territory of BMW, a company that made its reputation through design as much as through automatic self-levelling suspension.

All these architectural and design influences I think can be seen in Gaggenau, but I wanted to check this thought with Sven Baacke. So, I asked him.

Stephen Bayley: Is there such a thing as ‘German Design’?
Sven Baacke: Of course. We have the Bauhaus. And Gaggenau has been in the Black Forest for more than three hundred years. There’s nothing more German than the Black Forest! But at Gaggenau, while we certainly admire precision, we have soul as well. That’s not something you’d dare admit to a German engineer!

Bauhaus building

The Weissenhofsiedlung, designed by Mies van der Rohe, 1927

Stephen Bayley: What’s your approach ?
Sven Baacke: I reduce everything to the essentials, but do not remove the poetry. To me, a fridge is architecture. There are so many variables involved, so many different criteria. But everything comes together in a well-balanced kitchen. One thing is certain – I like open spaces, not closed doors.

Stephen Bayley: How do you define luxury?
Sven Baacke: Luxury is not so much about owning things. I don’t like to talk about Gaggenau as a luxury brand. In any case, luxury is culturally determined. If you live in a Chinese city, the ultimate luxury is fresh air. In Tokyo, it is space. For us Europeans, luxury is a personal thing. It is subtle. It is personal. It is about experience. And especially the experience of cooking, taking time to buy ingredients and spending time with friends.

Stephen Bayley: And are you a good cook?
Sven Baacke: Ah, but what is ‘good’? Certainly, I do not like baking because it is all about chemistry. I prefer to be intuitive. I love being in Sicily because the produce is so good that you hardly need to change it.

Contemporary wine cabinet inbuilt into kitchen

A Gaggenau wine cabinet at the EuroCucina exhibition

Contemporary style kitchen with stools

A Gaggenau kitchen design incorporating a Vario 400 series oven

Stephen Bayley: So, would you agree with [cookery writer] Marcella Hazan when she said, “I don’t
measure, I cook”?
Sven Baacke: Yes!

Stephen Bayley: Does good design last forever?
Sven Baacke: Yes. I admire Apple, but a first-generation iPhone is now obsolete. Our 90cm oven has been on the market since the eighties. It’s an investment, not an indulgence!

Stephen Bayley: Where do you find inspiration?
Sven Baacke: I like the oak cutting-board I recently bought at Margaret Howell in London. And I have just bought an electric Audi, but I also want to buy an old Porsche Targa or an original 1959 Mini. I am in love with combustion engines, but this is not a technology that’s going to get us to the next generation.

Monochrome photograph of contemporary pavilion

Mies van der Rohe’s Barcelona Pavilion

Stephen Bayley: What about the Frankfurt Kitchen?
Sven Baacke: My grandma had something like it. Very German. But its successor was Otl Aicher’s book Die Küche zum Kochen (The Kitchen is for Cooking) which inspired me at college. Aicher was the designer who gave BMW and Lufthansa graphics their amazing clarity.

Stephen Bayley: What new technologies will influence cooking in the future?
Sven Baacke: Revolutions are very rare. Cooking will always be an analogue activity. Look – we are not going to the moon, so I think future improvements will come from better manufacturing. And from a better understanding of how, for instance, we can make cleaning easier. Perhaps we will be able to make equipment disappear from view when not in-use.

Stephen Bayley: You have ten designers working at Gaggenau. What do you tell them?
Sven Baacke: Well, you have heard of forecasting. We have this intellectual game I call ‘back-casting’. I ask my designers to jump into the distant future and then jump back to the near future. And, with the jumping concluded, we both firmly agreed that the idea of wanting to save time in the kitchen was ridiculous, because wherever else would you ever want to be other than in a well-designed kitchen?

Find out more: gaggenau.com/gb

This article was originally published in the Spring 2020 Issue.

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Reading time: 7 min
Prosecco bottle against brown background
Prosecco bottle against brown background

Ombra Di Pantera is a new producer of Prosseco, and businessman Utsava Kasera’s latest investment

Utsava Kasera is an entrepreneur and investor with interests in luxury brands, fashion, art and tech. Most recently, his attention has turned to new Prosecco brand Ombra Di Pantera. Here, he tells us about this latest investment, finding a gap in the market and his new year ambitions

Man in suit and bow tie

Utsava Kasera

1. How did you first come across Ombra Di Pantera?

I always wanted to be involved in the drinks industry and the stars aligned when I met the other promoters of Ombra Di Pantera over a lunch through a common connection. The opportunity looked very good and we are on an exciting journey now.

Our inspiration for ‘Ombra’ is delivered from a unique heritage and a fabled history which stretches back to the Roman wines of antiquity. In ancient times, traders who served wine in Venice’s Piazza San Marco would follow the shadow of the Campanile to cool their wine as there was no refrigeration, and the Venetian expression, ‘Ombra de Vin’, meaning ‘Wine’s Shadow’, is still used to order Prosecco in its original heartland. Another interesting fact about Prosecco is that typically a glass contains fewer calories than wine and there is a town called Prosecco nearby Venice, where the name of this bubbly comes from.

Follow LUX on Instagram: luxthemagazine

2. What drew you to invest in the business?

The huge demand for Prosecco in the UK and lack of branding around it gives an opportunity to fill a missing gap in the market. The sales of Prosecco have overtaken champagne in the UK, which is now the second biggest market in the world after the US. Besides that, it’s a delicious Prosecco which embodies the elegance of Italian luxury and I believe it has the potential to make its mark in the sparkling wine world.

3. What sets Ombra Di Pantera’s Prosecco apart from other brands?

Ombra is traditionally crafted from a single vintage, using superior Glera grapes from our delicately cultivated Conegliano vineyard, to deliver a pure expression of the very finest Prosecco. The Prosecco is created ‘in bianco’, meaning the fermentation is without the skins creating the delicate sparkle that is captured over 60 days to produce a fine, persistent perlage. The steep hills of the vineyard provide the perfect conditions to grow  Glera grapes, which require cultivating and harvesting by hand relying on traditional methods refined over a thousand years. Ombra Di Pantera is dedicated to celebrating the traditional heritage and craftsmanship of Italian viticulture to deliver an authentic, exclusive Prosecco experience and can stand up to any high quality champagne or sparkling wine in blind tasting.

Vineyard with lush green vines

Ombra Di Pantera’s Prosecco is made from Glera grapes grown on their vineyard in Conegliano

4. How does the company fit into your wider investment portfolio?

My investments are across a wide spectrum of industries from tech to hospitality. I particularly invest in industries and projects, which I am passionate about rather than just looking at the numbers. Having said that, Ombra compliments a couple of my investments, which are in private members club, one called 1880 in Singapore and a wine bar chain in London called Vagabond.

Read more: Knight Frank’s Andrew Hay on the best emerging markets for real estate investment

5. What are your ambitions for 2020?

I would like to focus on making Ombra di Pantera bigger by aligning with more luxury partners and concentrate on strategic growth of the brand. I am also a co-founder of ‘Sidehide’, which is a tech app for hotel booking, providing a seamless experience for users and I will be involved in the launch and marketing campaign during 2020. Lastly, I would like to do some volunteering work with one of the charities I am involved with, and learn to play the piano.

6. How do you switch off?

I have a passion for whiskies and cognac. Enjoying a dram of Springbank 21 years whisky or Louis XIII cognac in company of friends relaxes me. Recently, I have started taking out time to cook and I am enjoying it at lot. Travelling is another passion and therapy of its own kind for me.

For more information visit: ombradipantera.com

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Reading time: 3 min
Render of luxury apartments on the beach
Architectural render of three tower blocks

Picasso Towers is a €225m residential development including luxury penthouses and apartments

Picasso Towers is Málaga’s latest luxury residential development, featuring 213 apartments on the seafront. Conceived by Sierra Blanca Estates in collaboration with Metrovacesa – and with endorsement from Antonio Banderas – the project aims to transform the Spanish city into more than just a holiday destination. Here, LUX Editor-in-Chief Darius Sanai speaks to Pedro Rodriguez, the founder of Sierra Blanca Estates, about the challenges of the project, creating demand and Málaga’s future
Business man sitting wearing blue suit and tie

Pedro Rodriguez

LUX: Can you tell us your story and how you came to work in development?
Pedro Rodriguez:  I studied tourism and I was the top producer of tourism to Spain from the United States for more than 10 years. I actually worked for Thomas Cook more than 40 years ago. And even though I was very successful as a tour operator there was something that made me consider making a change. It was actually two or three things I think. Number one and most important, was when Spain joined the European Union back in ’85. At that point, I was reading a book that was about Megatrends, which was written by a sociologist, and he came to predict what was happening already in the USA. People and companies establishing the North Industrial coal estates were moving to the Sunbelt, especially to California and Florida, looking more than anything for quality of life – obviously in Florida, as you know, they have a tax advantage also. This transformed Florida into one of the most successful states in the USA. Well, I didn’t have to be a genius to think that if I was going to make an investment back in ’85 it should be in Spanish real estate, because the same thing [that happened in Florida] was probably going to happen in Spain. So that was how I started. I invested in real estate, but from day one, I invested in only what I considered was going to be the best project for the future.

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LUX: When did you decide that Málaga would be a focus with Picasso Towers?
Pedro Rodriguez:  We started to buy the project five or six years ago. At that time, people were very sceptical that we could even build this type of project. Almost everyone was sceptical, but when we explained the idea to Antonio Banderas, who is our ambassador, he agreed because he is somebody that will do anything to promote the city where he was born. So we explained the philosophy behind the project and how we wanted to contribute to Málaga as a residential destination.

Successful people want to enjoy the fruit of their success and as these people are looking to invest in real estate, they are thinking about where they want to live, but also where they want to establish their own startups, their own companies. That is what is going to help to transform Málaga not just as a vacation or residential destination, but as a community of all nationalities.

Render of stylish contemporary apartment interiors

A render of an apartment’s interiors inside Picasso Towers

LUX: Is it a challenge that people do not tend to think of Málaga as a location where you’d buy a very high-end holiday home?
Pedro Rodriguez: Málaga has been projected as a cultural destination in the last 10 years, and it has been celebrated in many interesting films. Also, as you know, it’s an old city – it’s more than 2-3,000 years old. It has not only the old town, but also the Roman area. We invested and started to look at Málaga with great interest because of the way it was growing already, the attention that it was getting from entrepreneurs from Spain and all over Europe. We thought that the interest was going to bring a demand for a higher quality product, and the kinds of apartments that we are building did not exist before in Málaga. You are right that Málaga doesn’t at this point offer housing or apartments with the design or the quality that Marbella offers already, and that is what we realised.

We can already see that the demand is increasing from a variety of interesting people, who are part of the new society that it is coming to the city. It has always been my philosophy to create an end product that would be of a design and quality that will exceed whatever is on the market. There is always a demand for something very special, and the quality of the project is what generates the attention, and desire of people. I think that we are contributing a very singular, unique product with Picasso Towers, and it is helping the city to project itself as a residential destination with a quality product that didn’t exist before.

Render of luxury apartments on the beach

One of the towers is dedicated to luxury lifestyle amenities including three swimming pools, a premium spa, fitness centre, private cinema, playroom, co-working area and nursery, as well as incorporating the latest technology and security.

LUX: A few years ago, you published an article about how people were opposed to one of your projects in Marbella because they thought it was too big, too sophisticated for the location. Have you had similar challenges with this project in Málaga?
Pedro Rodriguez:
When you are creating something unique or special that the city’s society is not familiar with, you have to accept that you will have people who don’t really believe in it. But that is normal. If you create – in whatever area or industry – something that’s special, you cannot expect the majority of people to agree and understand what you are creating otherwise it would not be original, it would not be special. That was my idea in Marbella, yes, when we began to build the Sierra Blanca. It is a special destination in Marbella, and people were thinking that it was crazy because we were investing 20 or 30 million euros of today’s money [the project was 30 years ago]. In Málaga, when I was conceiving the idea for Picasso Towers, people were sceptical as to whether Málaga was ready for that kind of project. They were proven – and we are still proving – that they were wrong. Fortunately, there is a growing number of local and international successful entrepreneurs that are changing Málaga day by day.

Read more: Why you should go to St Moritz now for perfect snow

LUX: Is it true that Málaga is becoming a tech and business destination as well?
Pedro Rodriguez:  Absolutely. New and important international companies are being established quite frequently in Málaga. It is happening almost everyday.

LUX: Are you expecting the buyers of Picasso Towers to be international?
Pedro Rodriguez:  We haven’t really started the international promotion yet, but right now, we already have Swedish or Finnish investors, but mainly Spanish. We have Real Madrid soccer players that have invested in at least four or six apartments. Eventually, it will be home to a great variety of people from almost anywhere.

LUX: Finally, what other developments do you have planned for the future?
Pedro Rodriguez: We have an excellent project under construction right now in Marbella that it is without question, the best apartment project to be built in the city in the last 20 or 30 years at least. We are really proud to say that we have come to an agreement of doing branding with Fendi Casa, and the apartments are excellent alternatives to luxury villas. It is obviously a nice apartment, but at the same time, we want to create a country club lifestyle.

The first phase of Picasso Towers apartments will be ready by the end of 2021, and the whole resort is expected to be completed by 2023. For more information visit: sierrablancaqualityestates.com; metrovacesa.com

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Reading time: 6 min
Grand university building and lawn
Grand university building and lawn

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

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

Kevin Xu

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

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

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

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

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

President Bill Clinton with Hillary and another man

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

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

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

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

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

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

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

Barack Obama shaking hands with a businessman

Xu works with former US president Barack Obama

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

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

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

Read more: Travelling beyond the beaten track with Geoffrey Kent

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

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

People having a meeting around a table

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

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

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

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

You heard it here first.

Management by horoscope

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

Find out more about the MEBO group: mebo.com

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Reading time: 8 min
Gallery installation shot showing work by Sarah Morris
Gallery installation shot showing work by Sarah Morris

Sarah Morris installation shot, ‘Machines do not make us into Machines’, White Cube Bermondsey © Sarah Morris. Photo © White Cube (Ollie Hammick)

Standing in front of one of Sarah Morris‘ expansive architectural grids is a challenging, giddying experience. Confronted with a maze of colour and geometric shapes, you’re struck with a sense of panic: What are you looking at? How do you see it all at once, or make sense of it as a whole? This anxiety, or perhaps desire, is at the core of the American artist’s work as she plays with the viewer’s sense of visual recognition. Incorporating a wide range of references from the structure of urban transport systems to the iconography of maps, GPS technology, as well as the movement of people within urban environments, Morris’ work is best understood as an expanding and evolving network of visual, social and political connections.

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Her exhibition at the White Cube (and her first in the UK in six years), Machines do not make us into Machines presents a new series of ‘Sound Graph’ paintings, which use the artist’s sound files as a starting point for their composition. Recorded fragments of conversations are abstracted into hard-edged geometric shapes that appear in vibrant, fluctuating patterns that seem to move before the gaze.

Sound graph abstract painting by artist Sarah Morris

Sarah Morris, ‘The Building looks like a ship’ [Sound Graph], 2019 © Sarah Morris. Photo © Tom Powel Imaging. Courtesy White Cube

Image of a white dome with a golden spire and pink smoke in the sky behind

Sarah Morris ‘Abu Dhabi’ [still] 2017. HD Digital. Duration: 67 minutes, 54 seconds © Sarah Morris. Courtesy White Cube

The exhibition also includes a selection of her films. Most notably, Abu Dhabi (2017) – a layered and fragmented exploration of the city’s psycho-geography. Her first ever sculpture What can be explained can also be predicted (2019), is comprised of modular, glass tubes of various heights and colours, arranged on a gridded marble plinth in the appearance of a miniature city. There’s a lot to contemplate, so much in fact, that it is deserving of more than one visit.

‘Machines do not make us into Machines’ runs until 30 June 2019 at White Cube, Bermondsey, London. For more information visit: whitecube.com

Follow Sarah Morris on Instagram: instagram.com/sarahmorris

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Reading time: 1 min
Colourful interiors of a living room with velvet arm chairs and illustrated walls
Colourful interiors of a living room with velvet arm chairs and illustrated walls

Home Grown is the latest members’ club to open in London aimed at business professionals

This month, a new members’ club opened its doors in Marylebone, London. Sister to Home House, Home Grown is geared towards the business elite and deep-pocketed investors. We speak to the collection’s Managing Director Andrew Richardson about mixing business with pleasure

Portrait of a man wearing a suit sitting on a sofa with magazines open on a table in front of him

Andrew Richardson

1. There has been a recent rise in members’ clubs offering not just first-class facilities but also the chance to join a professional community, why do you think this is?

With the private members’ club sector becoming increasingly competitive, there is obviously an evolution of niche offerings, with potential members seeking specific benefits to them. Perhaps it could be compared to the restaurant sector where we all look for specialist cuisines, themes and menus over general offerings.

Over the years and despite the changes we have seen in London’s club scene, what has remained evident is the sense of belonging fundamentally linked to members’ club. As operators of these establishments it is our responsibility to curate an inclusive environment where relationships flourish organically; this is equally as important in the contemporary business club, with individuals increasingly mixing business with pleasure.

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2. London is home to a wide variety of clubs, what makes Home Grown different?

Home Grown is a hybrid, combining the luxuries of a members’ club whilst answering the needs of a high growth entrepreneur. Our objective has been to create a community of likeminded entrepreneurs, who are on a sometimes challenging journey. Our members’ events calendar has been specifically curated to support the entrepreneur’s journey, particularly at a high growth stage. Our affiliates and strategic partners support in areas such a legal, wealth and finance, tech, wellbeing, strategy and HR have been aligned to facilitate business growth.

3. What excites you the most about the project?

Just the sheer enthusiasm of the entrepreneurs that are joining Home Grown. The fact that members are unashamedly able to talk business, share ideas and mix with their potential investors. We have also been extremely well supported by our ‘Rock star’ entrepreneurs and those that have been through the entrepreneurial journey.

Detail interior shot of an elaborately patterned wall with a lamp and velvet chair

Spread across five Georgian townhouses, Home Grown features 35 boutique bedrooms, a brasserie-style restaurant, study café, several bars, business lounges and meeting rooms

4. Do you think it’s important for members’ clubs to be selective about who joins?

In this case, absolutely, as the real value-add is in the richness of the community and the unrivalled networking opportunities. We have identified and selected key criteria ensuring a membership mix of predominantly high growth entrepreneurs, whose businesses have an annualised growth of 20% or more in either turnover or employees together with investors and performance business leaders.

Read more: Geoffrey Kent takes us on a journey into The Kimberley

Luxury interiors of a London members' club

Interiors have been designed by Russell Sage Studio

5. What are your top tips for prospective applicants?

Home Grown has been designed as a platform for individuals who not only work to live, but live to work. Applicants should be open and specific about what they are looking to gain from their membership from the application stage, in order to obtain the most value from their membership.

If you are serious about accelerating or continuing the high growth of your organisation, this is the absolutely the community for you.

6. What’s next?

With regards to Home Grown, we are currently looking at possibilities to bring the concept to some of the larger cities in the UK.

As a brand, we continue to look forward for opportunities to expand, which could be within the private members’ club or boutique hotel sector. We will continue to celebrate our eclectic membership through our expansion and retain the pivotal elements in the DNA of the Home House Collection; fun, conviviality and eccentric British excellence.

For more information on Home Grown visit: homegrownclub.co.uk

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Reading time: 3 min
Installation shot of a gallery exhibition showing digital videos
Installation shot of a gallery exhibition showing digital videos

Installation shot from ‘Art in the Age of the Internet, 1989 to Today’ at the ICA/Boston, 2018: ‘Imagination, Dead Imagine’ (1991) by Judith Barry

We live in interesting times – so interesting, in fact, that not only are artists using ever-newer technologies and digital tools, but we are witnessing a whole new generation emerging: artists who were born, live and create with and on the internet. Anny Shaw investigates

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

For several years now, neuroscientists have been arguing that the internet is remapping our brains, rewiring our neural connections – for better or worse. Now it appears that the internet is having a profound effect on artistic practice, with artists creating perpetual iterations of works or keeping projects in continual development, like the tabs left running in your web browser.

“There’s a freedom artists have now, which is perhaps a symptom of how the internet impacts on people’s thinking. There’s never a next stage or a finished version; the possibilities are endless,” says Elizabeth Neilson, the director of London’s Zabludowicz Collection.

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Neilson points to the artists in the collection who use virtual reality (VR), such as the Canadian artist and film-maker Jon Rafman, who continues to work on his animated film Dream Journal that he began in 2015, and the US artist Paul McCarthy, who has created 15 versions of C.S.S.C. Coach Stage Stage Coach VR experiment Mary and Eve (2017), a project first unveiled at the Venice Biennale in 2017.

Watch Dream Journal by Jon Rafman:

Another, younger case in point is the painter and self-taught programmer Rachel Rossin, who has previously worked for the American VR firm Oculus. The Zabludowicz Collection pre-purchased her acclaimed VR work The Sky Is a Gap (2017), which Rossin has described as “a Zabriskie Point-like explosion of a building”. The piece premiered at the Sundance Festival in 2017 and the latest version, specially commissioned by the collection, is due to go on show in London in March 2019. “No matter that the work already exists in one form, Rachel will keep working on it,” Neilson says.

The London-based writer and curator Omar Kholeif takes the idea a step further. He suggests that works of art could soon start to evolve independently of the artist. “It’s not about upgrading the video apparatus, it’s about upgrading the coding and how a work of art might actually be produced,” he says. “You could acquire a piece that in 10 years might be completely different. Every time it’s shown, it could be different.” Kholeif is behind two ground-breaking shows examining new media and net art: ‘Electronic Superhighway’, at the Whitechapel Gallery in London in 2016, and its technologically updated sequel, ‘I Was Raised on the Internet’, at the Museum of Contemporary Art Chicago in June 2018.

Installation artwork by artist Sondra Perry

‘Graft and Ash for a Three Monitor Workstation’ (2016) by Sondra Perry

Of course, net art, or art made on or for the internet, is nothing new. Its genesis can be traced back to the early 1990s, when a diverse group of artists including Vuk Ćosić, Joan Heemskerk, Dirk Paesmans, Alexei Shulgin, Olia Lialina and Heath Bunting began to exhibit online and to build programs to create software art. Even then, artists were exploring the idea of open-ended projects. In 1994, the Israeli-American artist Yael Kanarek began World of Awe, a fictional online diary of a traveler in search of treasure, which she updated several times before finishing it in 2011. Meanwhile, John F. Simon Jr has said that his ongoing work Every Icon, which began in 1997, will take several hundred trillion years to complete with the 1.8 x 10308 possible combinations of black and white squares in the icon’s 32-by-32 grid.

Read more: Artist Tom Pope’s ‘One Square Club’

For these pioneers, the internet was a nascent phenomenon, but, for Generations Y and X, blogging, Tweeting and posting to Instagram are second nature. Indeed, it is increasingly common for younger artists to be just as well-versed in programming as they are in painting. The American artist Ian Cheng, for example, studied computer science while Toronto-based Jeremy Bailey trained as a software developer.

Digital artwork of computer images showing cats

Still from ‘Grosse Fatigue’ (2013) by Camille Henrot

Despite this, there is still a tendency to view the internet as a site for distribution rather than as a space where art can simply exist, Kholeif says. “Artists have a real discomfort with not being part of the white-cube gallery or institutional realm, because that is a space for validation where income is generated,” he observes.

There are, of course, exceptions. In 2011, the Dutch-Brazilian artist Rafaël Rozendaal wrote and made available, with the help of his lawyer and dealer, a sales contract specifically for the sale of websites as works of art – the domain name is transferred to the collector, who must renew it annually, while ensuring the website remains free and available publicly.

Abstract painting of a man by Celia Hempton

‘David, Florida, USA, 28th September 2015’ (2015) by Celia Hempton

Other artists have employed the internet as a form of activism. HowDoYouSayYaminAfrican, a collective of artists and activists, founded thewayblackmachine.net in 2014, an ongoing project that tracks via the internet the proliferation of images, mobile phone videos and news clips of the systemic violence against African Americans by white Americans. “The piece is a reality check about how little the needle has moved despite the wide access to and circulation of these images,” says Eva Respini, the curator of ‘Art in the Age of the Internet, 1989 to Today’. The exhibition, which opened at the Institute of Contemporary Art (ICA), Boston in February 2018, was one of the largest historical surveys of its kind to be mounted in the US.

Respini acknowledges that it is difficult to be optimistic in these divisive, post-truth times, citing “the proliferation of fake news, the internet’s nefarious influence on politics, mass surveillance, and in some areas of the world, strict control over information on the internet”. But she also believes that digital media has given “incredible power” to movements such as #MeToo and #BlackLivesMatter, “mobilizing and giving visibility to those with marginalized voices”.

Digital artwork of a woman's face by artist Frank Benson

‘Juliana’ (2014–15) by Frank Benson

Meanwhile, the artist and writer Miao Ying, who divides her time between Shanghai and New York but whose official biography states that she “resides on the internet”, dedicates much of her work to censorship in China. In 2016, she launched Chinternet Plus, a web-based project commissioned by New York’s New Museum that parodies the Chinese government’s much-hyped Internet Plus, which is aimed at rebooting economic growth but is carefully managed (read: censored) by the government.

Read more: In conversation with artist Victoria Fu

Miao describes her relationship with the Chinese internet as a form of Stockholm Syndrome, whereby she has formed a bond with her ‘captor’. “Chinternet Plus is self-censored,” she says, and consequently full of branding and devoid of content. Despite its seeming banality, Chinternet Plus has been blocked in China for several months. Miao adds that she would never show her political work in China. “A lot of my art has two versions; one is a self-censored version that I show in China,” she explains.

Digital artwork by artist Cao Fei

Still from ‘RMB City: A Second Life City Planning 04’, (2007) by Cao Fei

At the end of 2018, Miao unveiled a new website, Hardcore Digital Detox, commissioned by the privately run museum M+ in Hong Kong. Due to open in 2020, M+ is already known for acquiring digital art, such as its recent purchase of the entire archive of the internet art collective Young-Hae Chang Heavy Industries, as well as the rights to all their future works by the duo.

The acquisition reflects the growing interest of institutions in net art. This has been spurred on in part by 2019’s 30th anniversary of the British scientist Tim Berners-Lee’s proposal of the concept of the world wide web to his colleagues at the research organization CERN. As Respini notes, “1989 was also the fall of the Berlin Wall, Tiananmen Square, and arguably the beginning of our global era that we cannot imagine without the internet.”

This article was first published in the Winter 2019 issue.

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Reading time: 6 min
Velocity black branded truck in a desert facing sand dunes
Velocity black branded truck in a desert facing sand dunes

Velocity Black offers a start to finish booking service for high-net-worth individuals 

In 2014, Zia Yusuf quit his job at Goldman Sachs and started an online, ultra-luxury concierge service with his school friend Alex Macdonald. The business is run 100% digitally through the website and app, and membership is by invitation only. We put the co-founder in the hot seat for our 6 Questions interview slot.

Portrait of Velocity Black founder Zia Yusuf

Co-founder Zia Yusuf

1. What makes Velocity Black different to other lifestyle services?

Velocity Black is a members’ club reimagined for the digital age and engineered for those looking to lead a limitless life. Velocity Black is built on a breakthrough technology: the world’s first conversational mobile commerce engine for the affluent consumer. Our unique technology is disrupting several multi-trillion dollar industries at once, by re-imagining and simplifying the member experience for discovering and booking travel, dining, events and experiences. Built on the principal that the only thing we truly own is our story and everything else we are simply custodians of, Velocity Black liberates members to make their story as extraordinary as it can be. From planning round-the-world trips, to obtaining the most-sought after luxury goods, a dinner that’ll never be forgotten and original experiences like no other, Velocity Black turns what-ifs, into what’s next.

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We guarantee a response time of one minute 24/7, 365 days a year. We have enabled conversational commerce for the affluent consumer delivering personalised recommendations, automatic payment and fulfilment in real-time, around the clock.

2. How do millennials compare as customers to older generations?

Millennials are the ‘experience generation’. They are bringing a shift in consumptionVelocity Black app showing hotel booking service growth away from goods to experiences, valuing a meaningful life and memories shared over material goods. There is also an increase in awareness of the wellbeing of the planet and the effect of humanity on the environment and communities. Many millennials are increasingly looking to ‘give back’. We see that our members are particularly invested in global change.

In addition, instant messaging on smartphones is the preferred form of communication for millennials and they are much more likely to use messaging while travelling. Thanks to an ‘always on’ lifestyle, millennials live in an age of immediate gratification and our guaranteed response time appeals to this.

3. Will Velocity Black ever run out of experiences to offer?

We have delivered more than 45,000 experiences in 60 countries. We strive to assist members to live a limitless life of unforgettable moments and experiences. The world is our oyster. There is always a new experience or discovery to be had and we connect members to these.

Preview the Velocity Black world:

4. Your founding members include public figures such as Gigi Hadid and Vanessa Hudgens. Why is celebrity endorsement so important for the app?

These people work on extraordinary schedules. The reason they find value on our platform is because we make experiences so easy that all they have to do is go and get on a plane, or arrive at a restaurant. Our membership acquisition is based on an outstanding reputation and incredible offering.

5. What’s the craziest experience requested or organised through the app?

Our members benefit from being part of a closed community and we take privacy very seriously. I am therefore unable to disclose the nature of any individual requests, not even the really crazy ones!

6. Where do you go from here?

Velocity Black is one of the fastest growing tech start-ups and we don’t plan on slowing down. As voice search moves from novelty to habitual routine with time poor individuals looking to optimise their time however possible, you can expect to hear Siri and Alexa booking Velocity Black experiences on our member’s behalf. We will also be launching services in health care, real estate and art, later in 2019.

Find out more: velocity.black

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Reading time: 3 min
closeup photo of turned on computer monitor

closeup photo of turned on computer monitor

By Greg Williams

A LUX x ROSEWOOD COLLABORATION

Black and white portrait of WIRED magazine editor Greg Williams

Greg Williams

In recent years, ambitious parents have added a further endeavour to the list of educational activities they believe will enhance the character of their children. Along with music lessons, chess and languages, coding has become a must for any child whois to compete in the global economy of the future. No longer is it acceptable to master the Suzuki violin method or be proficient with an épée, no, the corporate titans of the future must also be armed with a fully developed grasp of the programming language Python. Tiger mothers from Cupertino to Chelsea compete to secure Imperial College computer science graduates as tutors, fearful that their children will be left behind by the merciless advancement of AI and quantum computing.

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There is some truth to large numbers of young people needing to be proficient in STEM skills. But it isn’t the whole picture. As it has floundered from one recent catastrophe to another, Facebook has demonstrated at in ear to deficiencies in its business, from culpability in undermining the democratic process to data privacy. Founder Mark Zuckerberg’s response that he would ‘fix’ Facebook demonstrated his engineer’s mindset. Having leadership capable of empathy and creative engagement would have served it much better than the obfuscation and platitudes that have become its hallmark.

Technical, scientific and engineering skills are crucial for economies, but so too is the underpinning of all discovery: language. Many in the technology industry believe that coding will soon be done by machines themselves, making much of what humans do today obsolete. What will remain crucial for our advancement are the skills that existed long before the concept of the programmable computer: human creativity and ingenuity. It’s what will determine our destiny.

Six ways to get technical:

1. Realise that it’s not just you; everyone else is also trying to understand what digital transformation means.
2. Ignore jargon. If it can’t be explained simply,you probably don’t need to know about it.
3. Don’t be afraid of the new.
4. Assume big tech is not your friend.
5. Stay curious. You have access to every piece of information ever, why follow Kylie Jenner?
6. It’s not really about technology, it’s about human beings.

Greg Williams is editor in chief of WIRED

This article was originally published in the Winter 2019 issue.

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Reading time: 2 min
close-up photo of SPMTE color bars

close-up photo of SPMTE color bars

By Dylan Jones

A LUX x ROSEWOOD COLLABORATION

Portrait of GQ editor Dylan Jones

Dylan Jones

I remember the very first time I met Jonathan Ive [Apple’s chief design officer], 15 years ago, at the old Design Museum near London’s Tower Bridge. It was a winter’s evening and we were sipping entry-level sauvignon blanc and eating overly complex finger food as we stared across the Thames and compared notes on how our respective companies were working together.

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We were talking about the need for creatives to work more collaboratively with those in the emerging tech sector, and, obviously, why it was imperative that ‘tech-heads’ (his term, not mine), should seek out more creatives. A decade and a half later, the penny finally seems to be dropping.

I have long been involved in discussions with creatives about how the big tech companies still think they can get away with treating content providers like serfs, but not only does this situation look as though it is slowly changing, but also it seems that far more people in tech are now reaching out to the creative industries. Not because they still desperately need content, but more importantly because they understand that in order to build long-standing editorial propositions, it is vital for both sectors to work hand in hand. Which means that the creative sector as a whole needs to be more responsive, and perhaps even more proactive in reaching out to tech, in order to start building for the future. It is no use pitching editorial against delivery systems, as they both need each other, more so now than at any time in the past.

Almost unbelievably, there are still those on both sides of the divide who think that one can work without the other. But more fool them. The future is bright and the future is exciting and the future is right here under our noses, but there is little point in trying to embrace it alone.

Six ways to get creative:

1. Build a proposition that partners can co-own.
2. Never clip your own wings.
3. Be transgressive as well as transformative.
4. Listen more.
5. Ask more questions.
6. Own the data.

Dylan Jones is the editor in chief of British GQ and menswear chairman of the British Fashion Council.

This article was originally published in the Winter 2019 issue.

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Reading time: 1 min