Saint Tropez luxury

Groupe Floirat’s first property, the legendary Hotel Byblos, Saint Tropez

Hotel Byblos and its nightclub Les Caves du Roy are French Riviera legends, hosting celebrities, old wealth, young Bohemians and new wealth for rest, play and partying since the Swinging Sixties. As the Byblos celebrates its 50th anniversary, Antoine Chevanne, CEO of the family-run Groupe Floirat, which owns the Byblos, the Caves, and owns two other French resort hotels, talks to Nathalie Breitschwerdt about running a family business, discreet luxury, and the enduring allure of St Trop.
Hotel Byblos

Antoine Chevanne

LUX: Your great grandfather founded Groupe Floirat back in 1967, how has the business evolved since then?
Antoine Chevanne: Groupe Floirat has grown, starting with our flagship property Hotel Byblos in St Tropez, 50 years ago. It now comprises of three properties including La Réserve in St Jean De Luz and Les Manoirs De Tourgeville in Normandy. Although the group has expanded, I have strived to maintain the spirit of the group that my grandfather first implemented, a feeling of home away from home, a personalized experience and intimate luxury.

LUX: From your experience, what are the challenges facing family run businesses today?
Antoine Chevanne: I think both the challenge and reward for a family run business is to maintain its own values and not lose sight of the company’s ethos. It’s finding a balance between adapting to the latest trends in luxury and technology, whilst continuing the legacy of the company’s founders.

Hotel Byblos

Rosita Missoni at the Byblos 50th anniversary

LUX: Byblos St Tropez continues to thrive after 50 years. What is the key to its success?
Antoine Chevanne: The key to Hotel Byblos’ success is personalized luxury to create a unique experience. We like to give freedom to our clientele, whilst providing impeccable service. We want our guests to feel at home, but in the most immaculate conditions. The breakfast at Le B by the pool is open until 1pm, and guests can eat dinner at any time after a night at Les Caves Du Roy – these are just examples of what I like to implement to make my guests feel special. As a ratio, we allocate on average 3 members of staff per room.

Read next: Bangkok’s Art Deco palace, The Siam 

LUX: In our rapidly changing world, how important is it to emphasise traditions and stability?
Antoine Chevanne: It’s very important to emphasise the company’s values in order to prove you are not getting swept away with the rapidly changing world. The challenge is to remain unique, whilst growing with our times.

hotel byblos

Anna Cleveland, Catherine Baba, Elie Top and Joana Preiss at the Byblos Party

LUX: How do you define luxury within hospitality?
Antoine Chevanne: Time, Space, Freedom – we want to make our guests feel relaxed. Many of our guests lead busy lives so we want them to feel free, independent as if they were in their own home. For example we serve breakfast until 1pm to give our guests time to relax and get up at whatever time they wish in the mornings.

LUX: In this sense, how has Groupe Floirat separated itself from other hotel groups?
Antoine Chevanne: By creating these bespoke and unique experiences for our guests. In order to do so, we partner with like-minded brands, who share the same beliefs and values of the group. For instance, this year for Hotel Byblos 50th Anniversary, we partnered with a range of luxury brands that share a similar mindset: Rolls Royce, Audemars Piguet, Goyard, Sisley, Missoni Home and Dom Pérignon. By creating these affiliations, we ensure guests are delivered any service to the highest standards, always in a similar spirit. Even our staff is now family, with certain members who have been with the group for over 20 years.

Hotel Byblos party

The 50th anniversary party at Hotel Byblos

LUX: How do you see luxury hospitality evolving over the next 5-10 years?
Antoine Chevanne: I don’t predict luxury will change immensely over the next 5-10 years. An experience can’t be replaced by virtual reality, an emotion can’t be replaced by an application, a feeling can’t be replaced by social media… Luxury will continue to be the ‘crème de la crème’, which is what guests seek when they travel to a 5 star property. May it be the gastronomy, beauty, or wellbeing, all of our properties will continue to deliver optimum, innovative and exclusive services to guarantee we remain ahead of the game. With this in mind, we seek to predict the change of expectations with the change of generations.

Read next: The star studded launch of Dom Pérignon P2 Champagne

LUX: Which of your experiences have been most helpful in leading Groupe Floirat?
Antoine Chevanne: Being the General Manager at Hotel Byblos for 5 years before becoming CEO in 2006, this really taught me the power of observation. Being aware of my clientele, receiving feedback and implementing solutions. Being on the ground at the beginning of a career, is key to successful leadership.

Rivea restaurant by Alain Ducasse at Hotel Byblos

LUX: In which ways has St Tropez changed over the last few decades? If at all, how have you responded to those changes?
Antoine Chevanne: The beauty of St Tropez is it’s never changing, legendary atmosphere. Byblos has maintained its prestigious reputation not only due to our services, but also thanks to our loyal customers and long standing relationships.

LUX: When not at Byblos, where is your favourite holiday destination?
Antoine Chevanne: My family house in South West of France in a village called Ahetze, where I can enjoy some quality time with my friend and family.

groupe-floirat.com

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Reading time: 4 min
bangkok luxury hotel
bangkok luxury hotel

Bill Bensley’s Art Deco palace, The Siam

Why should I go now?

Thousands of tourists flock to Thailand every year to take part in intensive wellness and meditation retreats in monasteries round the country, but whilst most of these tend to involve at least degree of comfort deprivation, The Siam is offering its own luxury holistic programme throughout 2017 with visiting artisans running classes to help guests restore a sense of balance into their hectic lives. Think aromatic essential oils, cold towels, soft, fluffy dressing gowns and slippers. In other words, pure, indulgent bliss.

What’s the lowdown?

luxury travel bangkok

A treatment room at the Opium Spa

Designed by renowned architect and interior designer, Bill Bensley, The Siam is a contemporary Art Deco palace with traditional Thai elements, but whilst Art Deco architecture is usually known for its heavy facades and oppressive detailing, the hotel is light and airy with stark white walls and a glass roof atrium. Unlike most of the city’s other luxury hotels – towering skyscrapers, glinting on the skyline – The Siam is more like a creative home with a well curated art collection and original antique furnishings as well as cosy communal spaces where you can curl up in an arm chair listening to one of the hotel’s vinyls; the library area can also be transformed into a private cinema room, on request, complete with popcorn. As such, it attracts a stylish and refined crowd who value aesthetism over elitism. The Opium spa is seductively sultry and Thailand’s Princess  trains regularly in the hotel’s gym, which feature its own miniature Muay Thai ring. The real charm here is in all the thoughtful details; free water bottles to keep you hydrated in the humidity, umbrellas in case of sudden downpours, cards specially printed with Thai instructions for guests to hand taxi drivers, even a guard standing by to stop the traffic when you cross the road for a lunch time street food snack. If you must venture further into the city, The Siam’s sleek yacht transports guests up and down the river from its private pier. It’s as James Bond as it sounds.

Siam bangkok

One of the hotel’s sumptuous Pool Villas

Read next: Minjung Kim’s contemporary ink paintings at Aloft,  Hermès, Singapore

Bangkok's luxury hotel, The Siam

The sprouting glass atrium

Getting horizontal

Our suite was a sensual chamber of cool Art Deco black and white, with enough mirrors to satisfy the most vainglorious of guests and smooth jazz set as the default soundtrack. The room came with a butler, who took personal responsibility for all our needs and was fitted with its own bespoke smart phone programmed with city guides and useful hotel information.

Flipside

The only window in the room was behind the bathtub, but in Bangkok that’s not necessarily a disadvantage. It’s one of the few cities in the world where people actually avoid the views unless you’re into mazes of futuristic skyscrapers. Plus, since most of the hotel is glass and full of exotic plants, it’s easy enough to find natural light when you need it.

Rates: From THB 17,971 a night inclusive of breakfast, excluding tax and VAT (approx. USD $ 500/ €500/ £400)
Millie Walton

thesiamhotel.com

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Dom perignon dinner london

Superstars from fashion, design and media gathered at an uber-exclusive dinner in Vincent Square, central London, last week to celebrate the launch of Dom Pérignon‘s Plénitude Deuxième 2000 champagne.

Sarah Ann Macklin and Rosanna Falconer

Whitney Bromberg Hawkings, Peter Hawkings and Emilia Wickstead

Paco Sanchez and Richard Geoffroy

Louise Galvin and Charlie Bracken

The cuisine and champagne were made even more glorious by the short speeches from Richard Geoffroy, Chef de Cave at Dom Pérignon, which themselves blended the deconstruction of Jacques Derrida with the poetry of Charles Baudelaire. As to the Plénitude Deuxième (P2 for short): released 17 years after the vintage, it’s a sumptuous, complex drink, rich and open as many of the 2000 vintage champagnes were.

Nadja Swarovski and Rupert Adams

Lady Ashley Adjaye and Tamara Rojo

Farhad Heydari and Darius Sanai

Melinda Stevens

The extra time it has spent maturing in the Dom Pérignon caves in France have given it a soulfulness which determines that it will never be sprayed around over over half-naked waitresses in St Tropez nightclubs, as lesser version of prestige champagnes sadly continue to be. Instead, it is a champagne to enjoy with your soul mate, perhaps at a three Michelin-starred restaurant over a proposal. It should be contemplated as I did, wandering outside after the dinner and looking over at Westminster School‘s cricket pitch on Vincent Square, some decades after I last played there, as a desperate last-minute addition to the school Z team, never imagining I would be back 32 years later to sip a drink made 15 years in the future – and why would one, unless one were Baudelaire?

Darius Sanai
Images by Richard Young
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Reading time: 8 min
exhibition of the month
Singapore Hermes exhibition

Mountain, 2017. Ink on mulberry Hanji paper

Hermes exhibition singapore

Close up of Mountain,-2017

Korean artist, Minjung Kim is the first of two artists this year to be invited to the Aloft art space at the Hermès boutique, Singapore. Exploring the gallery’s 2017 theme of reflection, Kim’s contemporary ink paintings depict vast, hazy mountainscapes that roll endlessly into the distance. The artworks are painted onto mulberry hanji paper (the traditional Korean medium) and created in line with Taoist tradition, which demands the artist seeks a state similar to meditation so that she is able to apply thin, detailed lines with a steady hand. Yet, Kim’s paintings, though delicate, are dreamy rather than precise, flowing and undulating almost like water. The fading mountains could just as easily be waves of a colourful sea disappearing into the horizon; look at them for long enough and you will almost begin to sway. It’s an intensely relaxing and hypnotic viewing experience. The artist’s state of mind at the point of creation runs through and from the ink, just as the ink bleeds into the paper.

‘Oneness’ runs until 30th July 2017 at Aloft, Hermès, Singapore

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Chez vrony zermatt

The breathtaking views of the Matterhorn are worthy of any postcard and a million selfies

Above Zermatt, Switzerland’s most spectacular mountain village and home to the Matterhorn, high-altitude restaurants like Chez Vrony combine tradition with chic, and put the haute into cuisine, as Darius Sanai discovers
The Matterhorn and Chez Vrony

All-round views are breathtaking

Mountain hut cuisine will be familiar to anyone who has skied the Alps; raclettes, fondues and other dairy confections. Fresh in the best sense of the word – sourced locally, recently – but rarely sophisticated.

We were looking forward to a little mountain cuisine as we approached Chez Vrony, in Findeln, high above the resort of Zermatt. It was a clear, warm summer’s day, and we had been hiking down from Fluhalp, a hut positioned high above a former glacier I enjoyed gazing at in my childhood in the 1980s (now melted, due to global warming, Mr Trump). The hike had taken us through a fantastical rock wonderland – where part of the mountainside above had simply collapsed into several football fields of Mini-sized boulders. We strode along the side of Stellisee, a lake whose reflections of the famous Matterhorn, facing us from across the broad Zermatt valley, have featured in a million postcards. We edged along a narrow path, a sheer drop to our left, as the glacial valley disappeared into a stream far beneath us; we could just make out the sound of a stream, a distant, constant swirl, like a giantess shushing its infant.

Read next:Kazakh artists make world art breakthrough at Venice Biennale

Descending, we walked past the highest trees, stumpy starter Christmas trees that had the temerity to grow above the otherwise uniform treeline; and skirted around another lake, this one more green, where children splashed and a thousand tiny frogs appeared and vanished into the grass on its edge.

Dinner in the Swiss Alps

The restaurant’s idyllic terrace, above the Findelnbach stream

Past a rock ridge, we gazed down and saw the hamlet of Findeln, home to Chez Vrony; only another ten minutes of descent down the well-made, sand-covered path and we were there. Chez Vrony is a wooden village hut from the outside, a sophisticated terrace restaurant from the other side. Ushered in by a lady who knew everyone (was this Vrony? Her daughter?), we were whisked past groups of well-dressed hikers (a curiosity in itself) and sat on sheepskins atop benches by a broad wooden table. The Matterhorn stared down, a world of ice, rock and snow, across a forest and a valley. We could have been served supermarket sandwiches and would have declared it the most wondrous refuge in the world.

But Vrony has other ideas. The menu was haute cuisine in both meanings: ingredients plainly sourced from the mountains, like the ‘pink-roasted entrecôte of Swiss lamb served with a port-steeped fig and hazelnut potato purée’, but with real panache and delicacy. (For a simpler option, the beef in the Vrony burger was sourced from the pasture above the hut.) We could have stayed all afternoon; indeed I think we did.

Vrony serves mountain cuisine with a sophisticated touch

Afterwards, it was 45 minutes’ rapid downhill hike through a scented forest as dusk approached, to the outskirts of Zermatt. The Matterhorn, changing angle and mood, always there with us, always a reminder that, however civilised the food, and however much we melt the glaciers, above Zermatt, this greatest of all Alpine villages, is a wild world, not our own.

chezvrony.ch

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Venice Biennale artists Yelena and Viktor Vorobyev
Venice Biennale artists Yelena and Viktor Vorobyev

‘The Artist is Asleep’, 1996 at the Kasteev Museum of Arts, Almaty in 2015

Once again, Venice becomes a stage for the world’s best art with the 57th edition of the Biennale opening this month. Under the direction of Christine Macel, chief curator at the Centre Pompidou, this is the first year that artists from Central Asia are represented in the Biennale’s main Giardini pavilion, as part of the curatorial project VIVA ARTE VIVA. Millie Walton speaks to Kazakh artistic duo Yelena and Viktor Vorobyev about the re-creation of their 1996 installation, The Artist is Asleep.
Artistic duo, Yelena and Viktor Vorobyev at venice biennale

Yelena and Viktor Vorobyev

Millie Walton: What does it mean to be included in this year’s Biennale curatorial project?
Yelena and Viktor Vorobyev: The most important is the feeling of belonging to a great important international project, when you feel part of the global world. This happens not so often, but here – the Venice Biennale’s main pavilion for the very first time. It doesn’t matter anymore whether the curatorial position coincides with major world trends, the mainstream, so to speak. Christine Macel’s vision is well founded and thought-out. As for our piece, it fits logically into her concept. Thus Macel’s and our positions reinforce each other. We’re glad it turned out that our modest work will not be lost in a series of many interesting three-dimensional projects by 120 invited artists from different countries.

MW: Has the 1996 installation been altered at all for the new space or is it re-created as an exact replica of the original?
Y&VV:Our 2017 version of the installation The Artist is Asleep is not an exact replica of the 1996 original, but it is still very close to the old one. The cover and the bed sheets are different, but it does not matter for the concept of the work. It should just give an idea that an artist is sleeping on the bed. Also the text is handwritten, so the installation is slightly different each time.

Read next: British model, Charli Howard’s battle against Size Zero

MW:What was your inspiration for the piece?
Y&VV:In 1995 the Soros Foundation-Kazakhstan published a series of catalogues on 10 Kazakhstani artists. Among them was published our paintings and drawings catalogue. The organizers of that series asked artists to write a statement. Since we were actually immersed in the meditative practice of painting that bordered on sleep – between the moment of dumb contemplation of an empty canvas and convulsive waking up, the moment of clarity, further action – the following text was written as a credo:

“The Artist is Asleep.

To wake him, to shake him, to urge to conform to his time is an utterly useless endeavour. But the one who is always wide awake, always is “all ears”, knows “which way the wind blows” and has his craft at the ready, does not suit many for some reason.

All one can do is to wait for the sleeping boulder to stir, rub open his eyes and get up as if to relieve himself.

Well then don’t let the moment slip. His efforts may result in a masterpiece.”

Our critics had a good laugh over this strange statement, but printed it anyway.

In 1996 we were invited to take part in a group show devoted to human rights. The exhibition was held in a grandiose building which housed a business center. As we have always been opponents of glamour, we decided to do something that was contrary to that situation to cause cognitive dissonance with a respectable audience. That’s how the idea just to “illustrate” this short text came about. We decided to illustrate it by making an installation with “a poor sleeping artist.”

Venice Biennale installation

‘The Artist Is Asleep’ (detail), 1996, at the Kasteev Museum of Arts, Almaty in 2015

MW: How is the installation still relevant to modern audiences?
Y&VV: We think that the figure of artist, creator still has value. The ability to visualize ideas that are important for many is just an amazing skill. Modern audiences are able to perceive the metaphors offered by different artists. Our work is, on one hand, a metaphor for the secrets of creativity and, on the other, a narrative describing the life of the recent era as well as the ironic context in relation to ourselves.

MW: What’s next?
Y&VV: There are many ideas that we would like to realize and of course we plan to participate in exhibitions.

labiennale.orgaspangallery.com

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Westminster School
Westminster School

Westminster School, London

Westminster School in London is probably the best school in the world. From Beijing to Buenos Aires, the global elite crave a place at the institution, dating back to 12th century, for their children. At the school’s heart is the pursuit of knowledge and the fuelling of intellectual curiosity for its own sake. Its headmaster Patrick Derham talks to Darius Sanai about educational challenges in an internet-dominated world, and how to stay on top.

LUX: The big debate right now is about how the internet is affecting learning. Is rote learning over because the sum of human knowledge is available on your iPhone? And are all schools outdated (which some pioneers are saying in Silicon Valley)?
Patrick Derham: It’s a fascinating question that isn’t new; and whenever you talk to educationalists and people in education there are different opinions. However, we all agree that what really impacts on young people, wherever they are in the world, is the quality of the teaching. No matter what technological advances there are, I passionately believe that what happens in a classroom – the interaction between teacher and pupil – is crucial to the life chances, the success, and the educational journey that young people are embarking upon.

The internet is a fantastic resource when used properly. I’m unusual as a Head in that I teach an A-level history set. I believe in varying the material I present to the class: not just traditional text books or biographies, but also online materials and access to online articles. It is a great bonus for them to have a much greater breadth of potential resources than I had at their age. So, I think it is very exciting.

In terms of rote learning, I’m afraid education is tough and there are no shortcuts. And there is nothing wrong with a bit of old fashioned rote learning as part of that educational journey. The information may be out there, but you have to have the skills to detect its bias and to understand its reliability and validity. Rote learning provides a foundation of knowledge from which to make those judgements.

But you also need to be able to think, and to realise that learning is, by nature, difficult. When learning a language, for example, before you can speak fluently, you have to learn the grammar and vocabulary; there is no other way around it. It is a helpful discipline; but learning is not just that. The best educational offerings are inculcating in young people a radical, questioning, liberal tradition: an encouragement to entertain, to challenge and to scrutinise. The greatest teaching encourages interaction: that discussion, the challenge that gently steers the pupils without necessarily giving them the answers, encouraging them to find their own solutions and to deepen their inquiry, as Westminster has done for generations.

Read next: British model and founder of the All Women Project, Charli Howard on her battle against Size Zero

LUX: You mentioned style of teaching, which I think is a key distinction. I will call them the new educationalists: people who are saying that facts are there, you can learn remotely and you don’t have to be in one room with a person telling you things. But what you’re saying is that good teaching is not just telling people what facts are?
Patrick Derham: The best teacher isn’t the one who points out the facts and just dictates. This is because good teachers are not constrained by syllabus requirements; they are not teaching to a test. They have the confidence in their subject knowledge and relationship with their pupils to be risk takers, prepared to go off on tangents. They will, whatever their subject, draw examples from the modern world, the past and from other disciplines so that young people realise that just because they are studying Physics, for example, doesn’t mean their learning is compartmentalised: they are led to understand how it interacts with the rest of society and the rest of life. It’s the same with the humanities and the arts. The best teachers need to be risk takers to push beyond the boundaries of the syllabus, to be seeking out connections. To understand the 18th and 19th centuries, for example, you need to have a full appreciation of cultural influences. It’s not just about learning the facts of who was king and who was the prime minister.

Westminster School headmaster Patrick Derham

Patrick Derham

LUX: Interesting. Recently, I found some work from when I was at Westminster. I did Chemistry, Biology and and English for A Level, and I found a science essay on molecular biology where I had brought in some of the metaphysical poets’ perspectives on love and how that related to molecular interaction. What struck me was that the teacher was fascinated and encouraged me to talk about it more. And that’s a Westminster thing!
Patrick Derham: That’s what I think the best education systems, wherever they are in the world, should be aspiring to do. I think there is something very distinctive about Westminster. It’s an extraordinary institution – very modest, we wear our traditions very lightly – but actually we are at the cutting edge of the finest teaching and developing the finest minds. I edited a book of essays, ‘Loyal Dissent’, which I think encapsulated Westminster well. The pupils are very loyal, but they are very dissenting; they are very radical and challenging. One of the most interesting parts of the book is Nick Clegg’s introduction [the former UK deputy prime minister] because he reflects on what he learnt at school.

We are, arguably, the leading academic school in the world. When I arrived, we took the international PISA-based test for schools and gratifyingly we came top in the three measurements. But, much more interesting and exciting was the fact that the study connected us with leading research across the world on pedagogy. The lessons we learn from PISA, the work we are doing with Cambridge and major educational studies, is all about getting the best out of our pupils and to prepare them for challenges ahead, many of which, as yet, are unknown. More than ever, we must give young people, wherever they are in the world, a skill set that means they have the ability and flexibility to move from job to job in the workplace as it evolves.

The new generation at work, the twentysomethings, are having to demonstrate much greater versatility. The best education is about giving them resilience, too – the ability to cope with disappointing setbacks: not just to throw their hands up and say, “This is unfair!” but rather, “What am I going to do about it?” We are living in very interesting times nationally and internationally. But the young people today are much more prepared to engage with big questions; they are much more interested and positive and much less selfish. This makes me hugely optimistic. When I look back to my early days of teaching it felt very different.

LUX: How do you find your teachers?
Patrick Derham: We look for the primacy of the subject, the love of subject, that infectious enthusiasm that really makes a difference and excites people. That’s what I want to see. So, we need to reduce the administrative load on teachers, and, in this, we can learn from each other. What’s happening in China is very interesting.

LUX: What exactly?
Patrick Derham: That they are given more time to focus on teaching rather than administration.

LUX: A school like Westminster, for many hundreds of years, catered to the British intelligentsia. Now it’s the international high flying set who have settled in London. Has that changed the school?
Patrick Derham: No, I think it’s exciting that London is such a cosmopolitan city. Westminster has a cosmopolitan,

Westminster school

Westminster School with view of the London Eye

international feel and this makes it very outward facing. We don’t need to talk about the importance of the global economy because it is very much here and it gives our community a real buzz. A related question for me is the issue of the affordability of fees and I worry about schools like ours becoming too exclusive. So we work extremely hard in all sorts of ways to make a Westminster education possible for those who would benefit most from it: bursary provision, for example, and we’ve appointed a director of outreach and widening access working with local primary schools to identify the right people whom we can support.

Really excitingly, we are in the third year of the Harris Westminster Sixth Form, which is our collaboration with the Harris Federation to replicate a Westminster Sixth Form education in the state system. It has been a stunning success and the admissions criteria there are for underprivileged children. We are thrilled that in the second cohort they have got 23 offers at Oxford and Cambridge, which is remarkable. This eclipses a huge number of independent schools that have not achieved that number this year.

Read next: Sophia Kah CEO and designer on sophisticated style

And again, the successful partnership with Harris, helps remove any air of public school arrogance, which I can’t stand. There is no place for it and there never was. The world owes no favour to pupils from schools like Westminster. They have got to demonstrate from their own merits, their own talents, their own skills that they are the best person – a Westminster education doesn’t give them a head start or a privilege.

LUX: You mentioned preparing people for a world where they will have multiple jobs in series or in parallel. The risk of artificial intelligence replacing many traditional careers seems to me to encourage a bias towards the creative industries where artificial intelligence is less likely to take over. Do you think that’s true? And how do you prepare people who might be studying sciences for a world where creativity (whether it’s entrepreneurial or traditional) is what might save them from being taken over by machines?
Patrick Derham: I think it goes back to the ethos of the school, and the education you’re trying to provide. If you teach science in the ways we do – predominantly experimental – it’s a much more creative approach. We want our pupils to experience scientific understanding and to gain knowledge through ‘doing’. And, you used that brilliant example of the cross fertilisation of Biology and English. In a sense that is creativity in action. Specialists need to be working alongside each other and with an open mind, in the world we are moving into. I think the best people from schools and universities are those who can demonstrate that ability to move quickly from one thing to another, making connections both within disciplines and between them. That sort of fearless intellectual curiosity comes from the best schooling

westminster.org.uk

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Reading time: 9 min
Charli Howard British model

Unique design title model of the month

Charli Howard british model

British model and founder of the All Women Project, Charli Howard

LUX contributing editor and Storm model, Sydney Lima continues her online exclusive series, interviewing her peers about modelling life and business.

Sydney Lima

THIS MONTH: 26 year old British model, Charli Howard is certainly not just a pretty face. A woman at the forefront of the battle against Size Zero, she signed to New York’s Muse models in 2015 after publically criticising her London agency for their impossible standards. After gaining a huge following and overnight features in Vogue and i-D, she created the All Woman Project with model Clémentine Desseaux to carry the message that beauty is not in your measurements. She has since worked for huge international publications from Harpers Bazaar to Tank, as well as fronting unretouched campaigns for Nike and Mango.

Sydney Lima: How did you first get in to modelling?
Charli Howard: I’d been scouted a few times in places like Oxford Street and Camden growing up, but I was always told the same thing: that they wouldn’t sign me unless my measurements were down to a certain size. I got let down so many times by the best agencies who told me I had to have a 34″ hip, otherwise it was never going to happen. Then at 21 my friend Fletcher sent my Facebook photos off to agencies, and I got signed at a 35″ inch hip.

SL: What has been your proudest working moment?
CH: There have been a lot. Shooting with Inez and Vinoodh was great. Creating the All Woman Project has been so therapeutic for me personally. And recently I’ve worked with brands like Mango and Desigual who aren’t Photoshopping me thinner, which feels like a blessing!

Charli Howard model

Image by Claire Rothstein

SL: Why did you start the All Woman Project?
CH: I wanted to show that you don’t have to be a size 0 to be beautiful. We shot models who are all undeniably beautiful – far more beautiful than I will ever be – in a variety of sizes. But rather than Photoshopping their cellulite or stretch marks out, we left them in. Women responded so well to it.

Read next: Super chef, Massimo Bottura’s ‘Food for Soul’ project

Sydney Lima: Why do you think its so crucial to change our types of role models?
Charli Howard: I know that a lot of women of my generation – women who grew up in the early noughties – were affected by size 0 and excessive retouching. So the last thing we need is another generation of women feeling the same way, and insecure.

SL: Do you think the industry is changing?
CH: Yes I do: slowly, but surely. I think the changes are happening quicker in New York, but I think London is following suit. I think it’s now more about the personality of the girl, rather than her measurements. As women, we will always aspire to and be inspired by beautiful women. That doesn’t mean they have to be overly thin to be inspirational.

SL: What plans do you have for 2017?
CH: I want to continue being happy and to teach girls their value doesn’t lie in sizes. Life is too short to be miserable!

instagram.com/charlihoward

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Reading time: 2 min
Sophia Kah Fashion

Fashion designer Ana Teixeira de Sousa began working with textiles at a very young age, making dresses for her dolls in her grandmother’s textile factory in Portugal. Launched in 2011, her luxury womenswear label Sophia Kah (named after her grandmother) is now global, with pieces sold in Harrods, London, and Barneys, New York. Her evening dresses have adorned the red carpet on celebrities such as Kiera Knightley and Ruth Wilson. With no formal training, Ana uses techniques and family secrets to design lightweight lace dresses with her signature exposed drawstring corsetry, silk organza and leather panel additions. The evening-wear designer talks to Kitty Harris about conjuring her female muses and design secrets.

LUX: What’s your wardrobe staple?
Anna Teixeira: A black lace dress and leather jacket.

LUX: How would you describe your design aesthetic?
AT: Modernised classic with a twist, very feminine and sophisticated.

LUX: Your design signatures include corsetry and lace for “cultured strong-minded women”. How do you keep your designs feminine yet strong?
AT: I think woman can be both feminine yet strong – there’s nothing stronger and more empowering than a super feminine fitted black lace dress.

LUX: How do you create designs that are both relevant and timeless?
AT: It’s not an easy job but I believe you create timeless pieces when you use great materials, a flawless finish and exceptional cuts.

Read next: Which is the best modern classic Ferrari?

LUX: The Kah girls include the likes of Beyoncé, Keira Knightley and Sarah Jessica Parker. Does your approach to design differ when you have a particular woman in mind?
AT: No, my woman is very much present in my mind when I design. I always picture her – where she likes to go, what she likes to do, what she believes in, how she sees the world and what inspires her. Based on my muse, I then design her wardrobe; she is obviously always evolving because the world is so dynamic.

LUX: You name your pieces: the ‘Marie Victoire’ from SS’17, the ‘Sharlene’ from your signature collection and ‘Violet’ from your AW16. Why?
AT: Each collection we dream up a woman – SS17 she was a French girl living between France and Mexico with a strong passion for architecture.

LUX: Why did you choose renowned architect Luis Barragan as inspiration for your SS17 collection?
AT: I absolutely love his work, how he managed to work on colour is so inspiring.

LUX: Which techniques do you still use today that you learnt in your grandmother’s textile factory?
AT: There is still a great amount of hand work on my pieces. But the major secrets are on the construction of the pieces. The number of little tricks that goes inside each piece is tremendous.

LUX: What’s next for the brand?
AT: Continue to grow our presence worldwide sustainably.

sophiakah.com

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Reading time: 3 min
ferrari test
ferrari test

The two Maranellos together (Photo: Laetitia Sanai)

The Ferrari 550 Maranello and its successor, the similar-but-different 575M Maranello, are becoming two of the most sought-after cars of the ‘modern classic’ era. Rakish two-seaters with V12 engines, they also divide opinion among collectors as to which of them is best. Now, 20 years after the 550 Maranello was first unveiled to rapturous reviews, LUX takes both of these beautifully svelte Ferraris out for some spirited driving and comes out with a surprisingly unequivocal answer.

There are few things more inspirational, to collectors of classic cars, than Ferraris hosting V12 engines. Any car person will become dreamy at the mention of a 275 GTB or Daytona from the 1960s; cars that combined race heritage with beauty and an engine whose functioning and sound is worthy of an installation at MOMA.

Ferrari still makes cars in this lineage, the latest being the 812 Superfast, an even faster successor to its F12 model, itself a car so rapid that to extend it and enjoy it you would, within a couple of seconds, be so in excess of a speed limit in almost every country in the world that you would be risking a jail sentence.

Like some of the proudest global dynasties, this V12 line had its reign rudely interrupted before being restored to the monarchy. In the 1970s, 80s, and early 90s, Ferrari instead made cars with a flat-V12 engine (a detail that refers to the arrangement of cylinders in relation to each other, important for car geeks), which was placed behind the driver and passenger; these included the famous Berlinetta Boxer and Testarossa, and the limited-edition, lightweight (and now highly collectible) F512M).

It was only in 1997 that the company continued where it left off with the Daytona of 1968, and replaced the F512M with the 550 Maranello, a car so different it shared only its available paint colours with its predecessor, and whose design – (new) V12 engine under a long bonnet in front, space for two people behind – resembled its deposed ancestor.

The 1997 Ferrari 550 Maranello, in classic Rosso Corsa (racing red)

The 550 was itself replaced by the 575M in 2002 which (pay attention at the back) was a modified version of the same car – an evolution not a revolution – and looked so similar from the outside that even experts have trouble telling them apart. (There were greater changes inside and under the bonnet, as outlined below). In 2006, the 575M was itself replaced by an all-new car, the 599 Fiorano, with a different V12, still under a long bonnet in front.

And – for those general readers still with us – this is the rub. The Maranellos, as the 550 and 575 were called, represented a singular era in Ferrari history. The cars that preceded them were, as outlined above, very different in every way; and their successors, the 599, F12 and today’s 812 Superfast, are also very different: faster, but also much more aggressive, with hair-trigger handling meaning they demand to be driven at high-speed all the time, and feel listless and a little dull if they are not.

Ferrari Maranello 575

The rare gated gearshift on the Ferrari 575M Maranello

The Maranellos, meanwhile, had a laid-back demeanour that fooled purchasers into thinking they were relaxed cruising cars – until they tried driving them at high speed, and realised they were every inch a thoroughbred Ferrari. This dual personality is unique among Ferraris, and the cars are now appreciating in value as connoisseurs recognise this.

To give additional spice to the collectability of these ‘modern classics’, the 550 was the last Ferrari to be made only featuring a metal gated manual gearshift. This may not sound significant, but every Ferrari made now is only available with a F1-style ‘paddleshift’, with no clutch pedal or gearlever; and so the beautiful metal gated gearshift has become a desirable element of many collectable Ferraris. The 575, meanwhile, was generally promoted with its F1-style gearshift, and of around 2000 examples made, only 246 were ‘proper’ old-fashioned manuals; and of these, only 69 were right hand drive examples for the UK, making them seriously collectable.

Read next: Why you should buy a modern classic car

Sibling rivalry 

The 550 received rave reviews from the motoring media from the outset, appearing so much more modern and sophisticated than its F512M predecessor. (Ironically, it is the quirky design and single-minded racy focus of the rarer F512M, of which LUX also owns an example, that have made its value whiz upwards far beyond those of the also-appreciating Maranellos, in recent years). When the 575M came out in 2002, it received a more mixed reception. More powerful, with a bigger engine, extensive modifications underneath, and more luxurious inside, it was nonetheless criticised by some for being a little too comfortable and soft – not enough of a Ferrari. Critics and purchasers rapidly realised that the addition of the factory-optional ‘Fiorano Handling Pack’, aimed at racetrack driving, righted things for the 575, as did a series of Ferrari’s own subtle modifications over ensuing months.

Still, though, the reputational damage, slight though it was, was done. A cloud hung over the 575, based on the initial reviews of it being too ‘soft’. Supporters of the 575 ever since have claimed that this is entirely unfair, and that the 575 is newer, faster, better and, with the ‘Fiorano Pack’, also racier than the 550; while supporters of the 550 say the original car is better and that Ferrari’s modifications simply clouded what had been a perfect machine.

The debate is muddied further by the gearchange developments. A tiny minority of 575s were sold with gearlever manual transmissions similar to the 550s, meaning it was very hard to compare like-for-like: a typical 575 with F1 paddleshift transmission and no Fiorano Pack was a different beast indeed to a typical 550.

Solving the debate: 550 v 575M Manual Fiorano Handling Pack

LUX is fortunate enough to own a beautiful example of a 550 Maranello from 1997, and a 575M Maranello, manual, from 2004. Both were purchased for their collectability, and for the joy they should impart in driving. And this offers us an almost unique opportunity to resolve, without bias, the question once and for all: is a manual 575M Maranello, with the coveted Fiorano Handling Pack, a better car than a 550, or is it too close to call? We took both cars out this spring to find out. First, our criteria: this was not about which car was faster (the 575M should be, by dint of 30 extra horsepower and a bigger engine), or more fun around a track (we didn’t actually take them to a track, though we did create an approximation of one out of some empty roads – responsibly, of course). It’s about which is a better all round V12 Ferrari, with a combination of performance, presence, handling, comfort and general brilliance.

The 550 Maranello

We purchased our 550 Maranello in its homeland, a couple of years ago. Prices had started to rise, and we were on the lookout for an excellent example of this model. A very low mileage example popped up on an Italian car website and, acting fast, we flew over and purchased it, as documented here in GQ magazine. The car had been kept in a showroom for ten years, and needed some fettling, admirably carried out back in the UK by The Ferrari Centre in Kent, to go as well as its museum-piece looks suggested.

The 550 Maranello’s “gills” hark back to Ferrari’s supercars of the 1960s

The shape of the 550 was a stark contrast to that of its predecessors when it came out; in retrospect, like the greatest designs, it was ahead of its time with its understated angles, and the harbinger of a new era. While it’s not as beautiful as the most gorgeous Ferraris, it has aged beautifully and now gains the attention that, ironically, it didn’t do when it was new. Slim, svelte, sleek and minimal, it feels very grown up.

Drive the 550 down a busy highway and the initial feeling is…what is all the fuss about? The engine is quiet – so quiet, nobody takes note of it, so much quieter than almost every other Ferrari, that you feel a little short-changed. This is a near-legendary Ferrari, but in a quiet way.

Read next: The nostalgic pleasures of travelling by ferry

The car also doesn’t immediately speak to you through the steering wheel as you might expect it to. The power steering is light and easy, but rather over-light; when it was created, the emphasis was on creating a Ferrari that could be used every day, and the tradeoff now is that ease-of-use and refinement seems to trump sense of occasion. Only the bang, clang from the metal gearshifter gate tells you you are in something special.

The 550 has a more ‘classic’ interior layout

Out on the open road, though, things change, fast. Push the accelerator and the engine roars as it whisks into the upper end of its operating range; the car flies forward. Most wonderful is the way it goes around corners. It flows and flies through fast corners, and on tighter ones, encourages you to go ever faster. As you stretch it, it wakes up completely from its straight-line stupor, and surprises you utterly: the 550 comes alive, progressively communicating more as it careers around tight corners. Drive harder and it gets happier, fluidly and consistently letting you know where you are in its considerable range of abilities, encouraging you to steer around bends with the accelerator, faster, faster, tighter, pushing it around and out.

And then there is the most wonderful moment of all: when you are flying out of a curve and accelerating ever more, you have a sensation that the momentum is about to be with the back wheels, and not the front wheels. It’s as if the car has been created to tap you on the shoulder and say, ‘Ciao. In a second, my rear wheels will start to slide, so, let’s have fun, ragazzo!’. Then they do so, and you flick the steering wheel and catch them, and tear on down the road.

All of this from a car that looks and feels, at low speeds, like a gentle cruiser. Spectacular.

Driving back to base, that feeling of a lack of feeling comes back again, though. At lower speeds the 550 is so quietly competent that it makes you a little restless. And while it feels very modern in many ways, it shows its age in the background noise generated by the body while travelling at speed on the highway.

The 575M Maranello Manual 

The 575 has its rev counter centred

Sit inside the 575 and, unlike the view from outside, the contrast with the 550 is immediate. The dashboard is updated: the 550 has three dials at eye level towards the centre, while in the 575 your view is dominated by a big rev counter. The leather and materials are of a higher standard, and the whole experience feels more luxurious, while distinctly similar.

Anyone expecting Ferrari to have upgraded the aural experience – the only real criticism of these cars – would be disappointed, as the 575 is as quiet as the 550 at slow speeds. I felt myself yearning for a V12 howl, rather than the smooth hiss of the engine in front; but the 575 is almost indistinguishable from the 550 in this way. It’s a very understated car.

In other matters, though, considerable progress is evident. The most prominent of which is the steering: it has far better weight, and more feel, than that of its sibling. While it doesn’t communicate like Ferraris did before power steering, it gives you a firm, meaty sense of exactly where the front wheels are pointing and what they are coming into contact with. This improved steering was part of the Fiorano Handling Package. The accelerator also has a more immediate response; meanwhile the gearchange is similarly satisfying. I tried to find a difference between these two delicious metal gated gearboxes, and if pushed I would say the 575 feels even more metallic and mechanical, but that’s probably quite moot.

The 575’s handling is also quite different. With the Fiorano Pack, aimed, according to Ferrari, at racetrack driving, I expected it to be altogether harder and stiffer than the 550, but that’s not quite the case. The first impression is completely the opposite. At very low speeds, over a speed hump, for example, the 575 has a slight but distinct return on its springs: where the 550 goes up over the hump and down, the 575 goes up, down, bounces back up again almost imperceptibly, and settles. One tiny extra movement. (All the Fiorano Pack 575s I have driven do this; and it’s not something you notice until you drive it alongside the 550.)

On the road, in a corner, this translates into a slight but definite bit of lean into a bend, then, as if the system is flexing its muscles, the ride turns flat and the car gets stiffer as you corner harder, both into and out of the corner. The 550, by contrast, felt simpler and more fluid.

At higher speeds through corners, the 575 is flatter, stiffer, and feels stronger than the 550, but if you are linking together a series of S bends, the 550 feels like it is making less effort – in a good way. It almost feels lighter, which it isn’t.

Ferrari F575

The 2004 Ferrari 575M Maranello was an evolution – but was it an improvement?

Push harder, and the 575 sticks to the road better than the 550; it leans less at the limit. It’s also noticeably faster, as you make the engine fly: those 30 extra horses, and the extra 250cc of engine capacity, really are noticeable. It makes for a car that is both speedier and more satisfying than the 550 to drive at medium-high speeds, although if you are in a situation where you are making the rear wheels drift out of a corner, the 550 can be caught more cleanly, and feels more simple and playful.

Read next: Super chef, Massimo Bottura on his food for soul project

On a long drive, more advantages of the 575 become clear. It rides better, even with the Fiorano Pack, and the body creates less background noise. It feels more settled than the 550, more sophisticated. It’s really the steering, though, that is the killer winning factor: whether cruising down a straight highway or into a series of curves, the excellent weight and good feel of the 575’s Fiorano Handling Package steering make it a satisfying, involving machine to drive, at times when the 550 feels like it is half asleep.

The Winner

Ferrari modern classic

Red brake calipers can denote racing suspension pack

We thought this would be a difficult, entirely subjective battle. But in the end, the 575’s one significant advantage over the 550 – the steering – plus the numerous small improvements in performance, ride, refinement, interior quality and sophistication, cancel out the 550’s trump card, its joy at the limits of handling. If you are buying a car to drive at its limits every day, then perhaps this trump card would be the killer app to swing your modern classic decision towards the 550. We also think that, from the outside, the 550 looks just a little cleaner and better. But overall, as a Ferrari for fast, real-world driving, combining speed, luxury, handling, refinement and utter aristo-Italian factor, the 575M manual with Fiorano Handling Pack beats the 550, and by a quite distinct margin. With only 69 made like ours, it’s also a true modern classic.

FOOTNOTE: Party Pooper? 

The Maranellos were succeeded by the 599 Fiorano, which sported a massive increase in power and technology; it heralded a new type of hyperactive V12 from Ferrari. The 599 itself was replaced by the F12, much more powerful, lighter, more agile and much faster again.

But the predecessor to the Maranellos was such a different type of car, never to be made again by Ferrari, that it has gained a cult following and commands roughly twice the price of a 550 in the classic car market. The F512M (LUX owns one) was a two-seater with a lightweight 12 cylinder engine behind the driver’s head and a modified body from the legendary Testarossa. Impractical and loud (in every way), it was also much lighter than the Maranellos, to the extent that Ferrari itself admitted the F512M had better acceleration than the 550 that replaced it.

It also has the sense of occasion of an Italian countess arriving at a Roman ball. Every minute spent in a F512M is memorable, you can feel the machinery all around you, as well as the stares of passersby. It’s also wildly exciting on a twisty road, until a point, easily reached, when it’s just wild. The Maranellos are far better cars, but for sheer presence and occasion, their predecessor still has what it takes.

Acknowledgements:

No serious collector of investments of passion, be they mechanical watches or modern classic cars, can be so without the wise counsel of trusted professionals in the field. For the 575M Maranello, LUX would like to thank Joe Macari whose unrivalled knowledge and nous makes up London’s greatest Ferrari dealer and service specialist: Macari takes as much care over the service of a modern classic as he does over the restoration of a £10m unique classic.

The 550 Maranello resides in the hands of The Ferrari Centre in Kent, south of London whose owners, Roger and Claire Collingwood, are both ex-racing drivers and mechanics with a deep understanding of the cars and the market: they both own modern classic Ferraris as their everyday cars.

Anyone researching or owning a Maranello will find the Ferrarichat board an invaluable resource; technicians, owners, dealers and others offer fellow members a formidable knowledge-bank.

Passion is the essential element for an investment of passion, and we share just a little bit of all of theirs.

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Reading time: 15 min
Broomhall House

For the first time since its construction in 1702, the ancestral home of the Bruce family (the Earls of Elgin and Kincardine) is open as an exclusive venue for private events, in collaboration with Wild Thyme and Hickory luxury catering, chauffeur service Little’s and The Balmoral Hotel in Edinburgh. Charlotte Davies journeys to the Kingdom of Fife, Scotland to dine with Lord Bruce surrounded by the portraits and antiques of his ancestors.

Entering Broomhall House rivals walking into the British Museum; casts of the Elgin marbles line the walls of the entrance hall, a Roman sarcophagus stands by the fireplace and flanking the doorway are a pair of 4th-century marble columns thought to be from Diocletian’s Palace in Split, Croatia – the Bruces certainly know how to make a memorable first impression.

What sets Broomhall House apart from other stately homes offering private events is that it is still very much a family home. It feels lived in, as it has been, Lord Bruce proudly informs me, by thirteen generations of Bruces. Over 70 children have been born and brought up within the historic walls.

Walking from entrance hall to drawing room, Lord Bruce recounts the first hundred years of the family’s history, illustrating the heroic lives behind the portraits that adorn the walls: the family first settled in Britain in 1066 during the Norman invasion, and in 1314, Robert the Bruce successfully defended Scottish independence against the English and the family held the throne for two generations. We are later shown King Robert’s sword, which after a certain politician’s mishandling (we’ll name no names), is now kept safely behind glass in the dining room

Passing through the elegant ballroom we learn of Edward Bruce who in 1598 negotiated the succession of James VI to the English throne and arranged the new constitutional entity of Great Britain, and the 8th Earl of Elgin who established political unity in Canada. Whilst the old schoolroom, now a small museum displays some of the gifts the 9th Earl, Victor Alexander, received as viceroy of India in the 1890s. The list of family accolades is quite overwhelming.

Our tour ends in the dining room (which like the rest of the house, is reassuringly more cosy than grand and imposing), where dinner is served round a large oak table. Here we have a moment to appreciate the beauty of the artworks and antiques that surround us; a spectacular mantelpiece that was reconstituted from the marriage bed of James VI and Anne of Denmark and the birth-bed of Charles I and his two sisters, and the pièce de résistance: a 19th-century silver statuette of Queen Victoria (commissioned by the Queen as a reminder of her omnipresence in India). Under the glow of the chandelier and flickering candlelight, we dine on a three-course meal of four types of salmon, beef and a selection of small cakes. The evening passes all too quickly; while sipping wine from nineteenth-century silverware, we discuss a wide variety of subjects from the state of the art market and role of portraiture to the family’s collection of classic cars, which include a 1920s Rolls-Royce Silver Ghost and a 1912 Napier.

broomhallhouse.com

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Reading time: 3 min