Helga Piaget, Founder of Passion Sea

Helga Piaget is the founder of the Monaco-based non-profit organisation Passion Sea, which reaches out to schools around the world with educational and artistic initiatives around ocean conservation.  Here, Piaget speaks to LUX about pushing ocean conservation to the top of the youth agenda and the role of art

If passion could save the oceans, Helga Piaget would have done the job already. An engaging mix of fire and focus, she is sitting with LUX at the Yacht Club de Monaco, speaking about her programme to bring awareness of ocean issues to the younger generation through her art programmes at her non-profit organisation Passion Sea. Born in Germany and based in Monaco, Piaget spends much of her time engaging with schools to try to create a new generation who understand the issues facing the oceans, and the routes to resolution.

Follow LUX on Instagram: luxthemagazine

Our location is not a coincidence: Monaco’s Prince Albert is one of the most significant high-profile supporters of ocean causes, something in the DNA of the principality with the celebrated Oceanographic Museum and Prince Albert II of Monaco Foundation, as well as being the President of the Yacht Club itself.

LUX: Passion Sea strives to engage young children in the conservation debate. Why?
Helga Piaget: Education is huge. Children are the future – the next adults, and the next leaders. So, if you educate them in the right way, they might be able to make a change. I specialise with younger children because they are sponges. They educate others: when they play, they ask the other kids, ‘Why did you throw that [litter] on the ground?’ Then, they often go home and realise how much trash and plastic is in their households, and the parents learn, too. I think they know even more than us sometimes.

Passion Sea runs educational programs across the globe

LUX: Explain the role of art in Passion Sea’s efforts.
Helga Piaget: We educate through art, because when children paint something, or they have to do poetry, it stays in their brain. You have to get it anchored in their brain, and [the best way to do] that is through art. It makes them happy, too, learning in a happy way. We did a book with artworks from around the world [in 2017], but for the last two years we have been working on [producing] big flags with schools worldwide, with one from each country. It’s really something to be proud of. I’m waiting to do an exhibition on it, but for the moment it’s not the right time. We already have 25 countries, and beautiful works which are all related to the topic of water. A whole class of children [produces] each work: that’s what’s beautiful. When it’s ready, I often go to the school and have a wonderful event with the mayor and the parents. Normally the schools do other programmes afterwards for conservation in their area. It never stops with us.

Read more: James Chen on providing vision for all

LUX: So, for Passion Sea, creativity is a form of activism?
Helga Piaget: Yes. It’s a snowball system, from one [project] to the other. We find one school, and we meet with the directors and teachers who are willing to participate. Then, through the locals, we find the next connection to the next school. If you start in one good point, you get the connections afterwards, and they start working with you. I am very lucky because I have travelled nearly the whole world with Piaget, so I have good connections in most countries. Now I live in Monaco, which I am a citizen of, so I am very well-connected there. Our prince [Albert of Monaco] does a lot there. It’s very important to have people like him, who have a name, in my book. If you don’t have names, people are less interested. They like heroes, someone they can follow. It makes them listen more.

Piaget with Paris Baloumis, Oceanco’s marketing director

LUX: How difficult has it been to incentivise those in the high net worth community to care about the oceans? Does it ever feel like you like you are fighting a losing battle?
Helga Piaget: Some days it does feel like that. It’s very difficult, but if you have one or two people who understand, it gives you the energy to continue. Two years ago, I was at the Monaco Yacht Show and I was the only one who was speaking about sustainability; everyone [else] was just thinking about money. But the biggest luxury is water, and fresh air. If the water is not clean, who can sell boats? People won’t go to dirty lakes or seas. Everyone has to work together. So I said, ‘The money is in the water.’ Ever since, we have been contacting marinas and boat owners to give them flags for the boats. The flag means they are respecting and protecting the waters. [It’s a way of getting people to] think about how they live, to not to buy too much throwaway material, and to use better products when they clean their boats. A year later there were four, five, six events in construction technology, and everyone was cleaning with these new products. I was delighted. I am really just trying to make people aware. When people see me now, they always ask questions about the topics of nature. They say I am the mother of the oceans!

LUX: What is the nature of philanthropy?
Helga Piaget: Giving the time and energy to make something positive happen. It doesn’t need to be worldwide. Even if it’s small – it can be next door, in the community – it is amazing to see something happen. For me, it’s water and the environment. There is so much being done, but there is still so much to do. Water connects us all, with our body, with our whole planet. It’s important. You must feel where your heart goes – for you need a big passion and you need a lot of time – then think as big as you want.

Find out more: passionsea.com

As with all of our philanthropists, readers who have their own foundations and philanthropic interests are encouraged to reach out to our interview subjects and their institutions directly.

Ebinehita Iyere, founder of charitable youth organisation Milk Honey Bees

Milk Honey Bees celebrates and empowers Black girls and young women by providing a safe space for creative expression and healing. Here, the organisation’s 28-year-old founder Ebinehita Iyere discusses her personal journey, the impact of violence on women and the importance of putting ‘HER’ first

LUX: What’s your earliest memory of wanting to be involved in youth work?
Ebinehita Iyere: Youth work has always been a significant part of my life. My earliest memory of wanting to be involved was at the latchkey after school club I attended in primary school, supported by some amazing youth workers. I naturally started applying those skills to other young people around me.

Follow LUX on Instagram: luxthemagazine

As I got older I really realised the impact that those youth workers had on me. When I left home aged 15, I became a youth worker without even knowing it, providing peer support to other young people like me. I was living in a hostel, so I created a youth work space in my small hostel room and everyone would come to my place. The community always had an impact on me and how I viewed society because people didn’t understand us, but the community did, the youth workers in the community understood us.

LUX: What inspired you to set up Milk Honey Bees?
Ebinehita Iyere: The work I was doing centred around young men. I was raised to believe that most issues in the community predominantly affect young Black men. That’s all I knew. Then, after a very tragic event affected me deeply, I realised that there weren’t any spaces for girls and young women to process the things they had experienced. I thought, when an incident happens in the community, where do the girls go?

Milk Honey Bees started with me, working on myself. My traumas had forced me to grow up far too quickly. So, there was a long process I had to go through to heal my own inner child, and through that important work I saw what I could do with other Black girls.

I had always used reading as an escape and when I read Milk & Honey by Rupi Kaur it was the first book that I felt in a long time really connected with me, so I shared it with a few girls, and essentially, with and for them Milk Honey Bees was created. ​​​​​​​

No one had ever asked these girls what they needed. My whole view on the needs of girls changed. Through creativity and putting ‘HER’ (Healing, Empowerment, Resilience) first, we were able to create a safe space for girls, where they could finally put themselves first, celebrate themselves and be visible.

LUX: How has the organisation evolved since its inception?
Ebinehita Iyere: The organisation has evolved in many ways and continues to do so. Milk Honey Bees began as a project that sat under my full-time job at Juvenis, where I work as a Therapeutic Diversion Practitioner. Through Juvenis we quickly found that the intersection of race and gender is incredibly important, and as a result Milk Honey Bees has evolved into something far bigger than we ever thought it would be – a space for Black and Mixed Girls to be themselves – which means we’ve been able to reach and support more girls than I could have imagined.

We’ve been able to take our time to develop our presence: who we are, what we want to achieve. Black girls are forever evolving so as an organisation we must grow with and for them. We have built and sustained more relationships with the community, schools, parents, and professionals. Some of the girls came to me at 17 now they’re in their early twenties – we’ve all been growing and evolving together.

Read more: The artistic legacy of Valmont’s Didier Guillon

Before the pandemic, we were doing creative projects and most of our work was done face-to-face. So, we set up online spaces where the girls could just chill and be still, feel empowered and vent about things. We also used creativity to stay connected which has led to us being able to reach and impact many more young lives.

Through the pandemic we actually evolved to become more sustainable and more visible, and are emerging with enormous energy and exciting plans for the future, both on and offline which led to being supported by the likes of major brands like Barbie, Sony Music, PR agency DH-PR and Adwoa Aboah’s media platform the ‘Gurls Talk’ podcast.

Milk Honey Bees’ partnership with Barbie aims to instil Black girls with the belief that they can do anything

LUX: Can you tell us more about the concept of H.E.R and how it works in practice?
Ebinehita Iyere: The concept is about putting ‘H.E.R’ first because Black and mixed race girls typically have to wear an armour. They have to mobilise in their families and communities and tend to be denied the time and space for healing themselves.

H.E.R stands for Healing, Empowerment and Resilience. It works in practice through helping the girls learn how to navigate themselves, and in turn, how they can navigate within the sisterhood and the wider world. Essentially, it teaches them to understand whilst being understood.

Healing comes first, and we use creative expression to do much of this work because people need to feel safe and comfortable to express how they feel. We use tools like play, art and healing circles, which allow the girls to be vulnerable in a supportive expressive environment.

Empowerment is about the reclaiming of power. So, taking back the power they felt they’d lost through their negative experiences. We do this by doing things the girls were told they couldn’t do. Black girls are often told they can’t or shouldn’t do certain things, but we empower them to do whatever they want, through raising aspirations through giving them amazing opportunities, such as new educational opportunities, writing for magazines like Grazia, and working with exciting brands like Barbie and Sony Music. It’s important to show the world the power the girls have, so they in turn feel self-empowered.

Resilience is about building on what the girls already naturally possess – and they possess a lot of it – especially with this generation dealing with the pandemic and social media pressures for example. Milk Honey Bees shine a light on various forms of resilience and support our girls to build it within and beyond the community. We also focus heavily on the fact that it’s OK not to be OK, and even just articulating this is a form of resilience. We show ourselves that we don’t always have to be strong or present a certain way. You have put HER first!

LUX: Why is it so important to enable and support creative expression amongst young Black women?
Ebinehita Iyere: As I mentioned before, creative expression is really important for healing. You can feel a sense of both strength and vulnerability through creativity in all its forms. It comes from within – plus, creative potential is limitless.

It’s particularly important for Black girls, who have long been the pioneers of creativity – yet are rarely credited for it. We support them to take ownership of it. Creative expression also determines how your internal feelings are shown and embraced by the world. For Black girls and young women, it’s so important, so that the world doesn’t continue to only see one side of them. Our one-to-one and group sessions often lead into social action projects. Their creativity fuels their voice and visibility.

LUX: Are the girls you work with referred or do they tend to reach out directly?
Ebinehita Iyere: Both! We have a referral system in place through Juvenis, which is our parent charity. We also get referrals from social care, education, mental health partners and sometimes local institutions like the police.

We are really strong on encouraging and facilitating peer-to-peer support, which means that girls can reach out to us directly – they often refer their friends or refer themselves. We even have boys referring girls to Milk Honey Bees! Young men who see the work we do sometimes refer their sisters or girlfriends to us, which is great. We also get a lot of parents coming to us.

LUX: How do you ensure you’re meeting the needs of the individual within the collective?
Ebinehita Iyere: Before anyone is put in a group, our work always begins with a one-to-one session. I always start by asking the girls how they are, who they want to be and what they need, and we co-design an individual support plan.

The next step is the group process. We spend time getting to know each other and ourselves as individuals. Within the group, everyone has a role, or ownership/leadership of something. Everyone is individually celebrated, even within a group.

We create a space free of judgement and rooted in the celebration of Black girlhood. We work to the ethos of: “I am my sister’s keeper, while I’m keeping myself.”

Milk Honey Bees organises creative workshops and projects based on what the girls want to do, see and learn

LUX: You’ve said before that “people need to start seeing Black girls and stop putting them in the same category as women”. Can you explain what you mean by that?
Ebinehita Iyere: A lot of the time Black girls are judged as adults when they are still children. One of the key barriers to the intersecting needs of Black girls and young women being centred by services is the manifestation of adultification bias, where notions of innocence and vulnerability are not afforded to certain children due to racial prejudgement. They are held to greater levels of responsibility due to being treated as though they are more mature, with their rights often being diminished or overlooked.

For example, research has found that adultification contributed to the perceptions amongst those in authoritative positions view Black girls and young women are less innocent, which influences a greater use of force, harsher punishments, and decreased protection and support from services in comparison to white girls. This can have further damaging impacts on how they view themselves, their mental health, as well as negative experiences and interactions with various professionals across so many systems, including education, justice, health, and social care.

If society views Black girls as Black women they are essentially taking away their childhood. There’s an erasure of innocence because of this assumption. We need to allow Black girls to thrive and fail in their girlhood, in order to become the best women they can be.

It’s easy for others to try and write you off and label you as an “angry Black woman” without even knowing who you really are or based on your expressions. I know this stigma first-hand from teachers, to social workers and even previous managers. It affected me deeply. I don’t want any more girls to have to go through that as girls or women.

LUX: As a young founder, what challenges did you face in setting up the organisation and how did you overcome them?
Ebinehita Iyere: Initially, my biggest challenge was me and not being able to process myself. I realised very early on that I had to work on myself first before I could really help anyone else. So, I learned to look after myself while trying to look after others. Now I allow myself to process my feelings and sit with my emotions. They are valid.

You’re allowed to cry, rest, be happy, feel confused – you’re allowed to ask for help. There is amazing strength and power in helping others, but you have to love and take care of yourself first before you can do that for anyone else. I’ve learned how to embrace my vulnerability and turn it into great strength, by speaking up for myself when it matters and allowing myself to be vulnerable with others, knowing it’s more than OK.

Your experiences do not define you; they will only allow you to learn, grow and become the best version of yourself for you. My experiences have not allowed me to grow personally and professionally.

Read more: Juanita Ingram on empowering women in the workplace

Outside of my personal life, my transition to a founder was as a result of most of my work being with boys in the community, but I started to realise that there was a real lack of understanding when it came to creating safe spaces for Black girls to express themselves in the community after incidents happened, or even spaces that celebrated Black girl joy. Creating safe spaces for girls is something I assumed people would understand, but they didn’t. People couldn’t understand what I was doing.

Being supported by my passion, family and a core group of people in the youth sector who understood my vision (Jenni Steele, Winston Goode and Whitney Iles), and receiving funding and recognition through awards and press also helped my journey to ensure that no matter the challenge I could overcome it.

LUX: How do you think education systems can better support young people? Are there any skills, for example, which you think schools should be teaching?
Ebinehita Iyere: I think education systems can provide better support by allowing young people to be creative. Life, career, and success – none of these are linear. Thinking creatively helps young people navigate these things.

I also think schools should be teaching more life skills – processing emotions, managing money, and mindfulness for example – to prepare young people for the highs and lows of the working world.
Schools should have a four-day teaching week with one day set aside for play, mental health, life skills, pastoral care etc – for both staff and students – plus engaging with families. Showing that it’s OK for them to express themselves because without expression you can’t function. We saw it in the pandemic – imagine if adults had had the personal tools to have been able to support kids more during the pandemic?

LUX: What impact does the exclusion of women from conversations around violence have on individuals and communities?
Ebinehita Iyere: For every experience of violence whether it’s structural violence, domestic violence or youth violence, there’s always a woman on the end of it – whether that’s on the side of the perpetrator or victim. Violence is not just the act itself. It’s the aftermath. Instead of grieving and healing, girls have to wear this armour and protect boys and men. In other words, girls are spending more time mobilising for others than healing themselves.

Excluding women from these conversations leads to overwhelming feelings of invisibility, not feeling like our voices are heard, and erasure from our experiences. We are more than just a hashtag, we should not only be visible when being mourned but also while living. We should not be excluded from conversations about our safety in fact we should be safe.

Even when we are included in these conversations we aren’t leading them. The impact is really bad. Giving the women of tomorrow the skills, language and tools to be able to have these conversations in their spaces and beyond is essential in my opinion.

Iyere at the Veuve Clicquot Bold Woman of the Year Awards 2021 in London. Photo by David M. Benett/Getty Images for Veuve Clicquot

LUX: What upcoming projects are you looking forward to?
Ebinehita Iyere: We have so much coming up for us and essentially everything is led and developed by the girls. We are developing a new schools based project for teen girls and have just launched our project with Barbie for 5-10 year olds.

We are super excited for the launch of Creative Connection, our a brand-new project in partnership with Sony Music UK. I’m really looking forward to this because it’s an incredible chance for young women to navigate the industry they want to be in – and an amazing chance for the inspirational businesses and creatives they engage with to learn from the girls.

Creative Connection is a 8-week mentoring project purposed with empowering Black/Mixed Black young women, who have an interest in getting into the music and wider creative industry, through a series of introductory workshops and sessions. In collaboration with Sony Music UK, Milk Honey Bees have curated a unique curriculum supporting a selected group of 10 Black/Mixed Black female creatives aged 18-23, by offering them creative mentoring and work placements. Being able to fuse creativity, work and wellbeing together to all work hand in hand is really exciting, and the ten young women who are selected will be the first of their kind.

LUX: And finally, you were recently nominated for the Veuve Clicquot Bold Future award. What does that mean to you personally and to your organisation?
Ebinehita Iyere: It was so amazing to be recognised by Veuve Clicquot, mainly because it’s so rare to see that kind of visibility for people like me. Even though I didn’t win the actual award, I am still a winner!

My name, Ebinehita, means ‘my destiny’. My journey fluctuated from not feeling like I had a destiny to fulfilling my density. I’ve worked so hard to create one for myself through hard work and self love, so to be recognised by such a prestigious brand made me so proud. For every woman who fought to get where you are: continue to be bold because you are the future.

Find out more: milkhoneybees.co.uk
Follow Ebineita Iyere on Instagram: @ebinehitaiyere_

The colourful buildings of Nyhavn

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

By Ella Johnson

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

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

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

Mathilde Topsøe

Mathlide Topsøe

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

Describe your generation.

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

What makes Copenhagen special?

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

Where are your favourite places to go?

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

Where do young people go out?

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

Are you a typical Copenhagener? 

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

Levino Tvarnø

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

Levino Tvarnø

What’s the best thing about Copenhagen?

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

Where do young people like to hang out?

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

How important is fashion to Copenhageners?

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

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

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

Karla Bak

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

Karla Bak

What’s the best thing about Copenhagen?

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

Where do you hang out with your friends?

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

How would you describe your generation?

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

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

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

What influences the way you dress?

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

What are your hopes for the future?

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

Celine Nyegaard

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

What inspired you to start your business?

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

Celine Nyegaard

Is Copenhagen good for fashion?

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

Where can you find the best food?

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

What’s your favourite thing about Copenhagen?

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

Anton Thiemke

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

Anton Thiemke

What’s the most striking thing about Copenhagen?

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

Is fashion important to you?

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

Where do you and your friends hang out?

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

Randi Mølmark

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

Randi Mølmark, trave

What makes Copenhagen a great place?

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

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

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

How would you describe your generation?

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

Where do you and your friends go out in Copenhagen?

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

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