“Women of Venice (Femmes de Venise)”, 1956. Alberto Giacometti. Fondation Giacometti, Paris © Succession Alberto Giacometti, VEGAP, Bilbao, 2018

Alberto Giacometti, 1951. Photograph by Gordon Parks

Swiss artist Alberto Giacometti is renowned for his figurative sculpture and dedicated exploration of the human condition. His work, in my view, best represents the transformation of early 20th century philosophical thought from Freudian psychoanalysis to De Beauvoir and Sartre’s existentialism.

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The current retrospective at the Guggenheim Bilbao presents the evolution of Giacometti’s remarkable career through five decades, from his early surrealist heads to his rough, slender figures, characterised by their raw, layered process.

“The Nose (Le Nez)”, 1947. Alberto Giacometti. Fondation Giacometti, Paris © Succession Alberto Giacometti, VEGAP, Bilbao, 2018

One of the most fascinating aspects of the exhibition is the artist’s seemingly contrasting representation of gender. In Three men walking, for example, the figures are caught in movement or more specifically, stride, and whilst they are sculpted as a collective, the viewer is keenly aware of their individuality as they move in separate directions. By contrast, we might consider the stillness of the figures in Women of Venice or Four woman and a base; here Giacometti presents us with collectives which are stagnant to the point of seeming distant and un-relatable. There is a sense of fear and intimidation in these latter sculptures, but also of an obsession — an obsessive need to understand.

James Houston

“Alberto Giacometti – A Retrospective” runs until 24 February 2019 at the Guggenheim, Bilbao. For more information visit: guggenheim-bilbao.eus

“Walking Man I (Homme qui marche I)”, 1960. Alberto Giacometti. Fondation Giacometti, Paris © Succession Alberto Giacometti, VEGAP, Bilbao, 2018

“Men’s Heads (Têtes d’hommes)” ca. 1959 Fondation Giacometti, Paris © Succession Alberto Giacometti, VEGAP, Bilbao, 2018 Alberto Giacometti

Considered the largest waterfall in the world, Victoria Falls lies along the border between Zambia and Zimbabwe

Abercrombie & Kent founder and LUX contributor Geoffrey Kent forecasts the hottest travel experiences and destinations for the coming year

I believe that human beings collect experiences throughout our lives that both inform our personality as well as that speak to who we are. We each have an ‘experience portfolio’ that reveals what inspires us and what we care about. It reflects our tastes and signals our aspirations. What and where will you experience in 2019?

Explore the extremes of The Arctic

For over 500 years, the Northwest Passage and all its inherent possibilities have fascinated intrepid souls. The changing climate has now made it possible to explore the entire length of the famed sea route, which runs from the Atlantic to the Pacific.

Explorers began to search for such a route in the 15th century but it wasn’t until 1906 that Norwegian Roald Amundsen’s expedition managed to navigate the passage. It’s thrilling to retrace the route pioneered by early polar explorers like Henry Hudson, John Franklin, Robert McClure and of course, Amundsen, from Kangerlussuaq in Greenland to Nome in Alaska. Travel through and past islands and sparsely settled lands where many pioneers were forced to overwinter when their ships were trapped by fast-moving ice.

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Which experience will make it into your ‘portfolio’? Perhaps seeing whale and grizzly, black and polar bear, meeting the Ingalikmiut people, or seeing the Northern Lights.

Pencil it into your diary: 26 Aug-18 Sep. Cruise from western Greenland through the Canadian Arctic to the Bering Sea in the company of A&K’s award-winning expedition team. This 24-day Northwest Passage cruise starts at £25,350 per person.

Geoffrey Kent dog sledding on an Abercrombie & Kent trip to Finland

Find yourself in Finland

Or more aptly, lose yourself in Finland. I led a trip above the Arctic Circle in 2018 and all the guests who accompanied me described it as “the trip of a lifetime”. Pictures simply do not do justice to the experience of losing yourself in this country’s vast landscape. Finland is a country in which it’s possible to escape the crowds, especially when you travel off-season. Beyond its vibrant capital, it reveals a very different side of Scandinavia – unspoiled, sweeping and still.

Which experience will make it into your ‘portfolio’? Ice driving, snowmobiling, searching for the aurora borealis, meeting Sami reindeer herders, dog sledding?

The Croatian town of Dubrovnik is known for its picturesque Old Town surrounded by 16th century stone walls

Visit the ancient world in Croatia

Croatia and its dramatic Adriatic coastline are delightful. Immerse yourself in Dubrovnik’s old-world charm as you walk the narrow street of the Old Town, surrounded by the historic 16th-century battlements. As we head into the eighth and final season of HBO’s epic fantasy TV programme Game of Thrones, it seems like an apt time to tour some of its filming locations. Dubrovnik has doubled as King’s Landing throughout the entire series and fans will recognise locations galore including St Dominika Street, Stradun, Minceta Tower, Fort St Lawrence and Trsteno Arboretum. Elsewhere Diocletian’s Palace in Split acts as Meereen, Trogir is otherwise known as Qarth and Kastel Gomilica goes by Braavos.

Go gourmet in Peru

Known for its ancient ruins, spectacular scenery and colonial architecture, Peru has added cuisine to its international appeal. Voted ‘best culinary destination’ at the World Travel Awards for the sixth year running, Peru’s vibrant restaurant scene is home to some of the world’s most influential chefs, who all delight in raiding the home larder for indigenous produce. With two of top 10 restaurants in the 2018 San Pellegrino World’s 50 Best Restaurant list (and three in the top 50), foodies are rightly taking notice of Peru’s gastronomic scene. Legendary super-chef Gastón Acurio, Virgilio Martínez Véliz and Mitsuharu Tsumura’s establishments in Lima and Cusco are a must for visitors. My tip: there is no better way to understand the local cuisine than to see where so many of the indigenous foods are harvested, so be sure not just to stick to the cities. In addition, petrol-heads should note that in 2019, the Dakar Rally will take place in only one country for the first time in its history, with Peru playing sole host.

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

Discover the wonders of Zimbabwe

There’s never been a better time to visit Zimbabwe. A renewed hope is evident amid a changing political landscape and this spirit of optimism is attracting a fresh wave of tourism. ‘Zim’ is home to five different UNESCO World Heritage Sites and the glorious natural attractions of Victoria Falls, the Zambezi River and Hwange – the country’s largest game reserve. The country is more vibrant than ever with a burst of exciting hotel re-openings to boot – Bumi Hills Safari Lodge on Lake Kariba recently completed a £2.3 million upgrade and Singita Pamushana Lodge in Zimbabwe’s Malilangwe Wildlife Reserve reopened in May 2018 after a complete refurbishment. I recommend a helicopter flight over Victoria Falls – so breathtaking a sight that when David Livingstone first saw the falls, he proclaimed that they ‘must have been gazed upon by angels in their flight”.

Experiencing wildlife in its natural habitat is one of travel’s greatest rewards, says Geoffrey Kent, such as seeing Giant Pandas in China (pictured above)

Admire the diversity of our world’s wildlife

Experiencing wildlife in its natural habitat is one of travel’s greatest rewards. From the playful lemur to the elusive Bengal tiger, the giant panda and the mountain gorilla, the incredible diversity of the world’s wildlife contributes to the rich tapestry on Earth. As I read reports such as the WWF’s most recent, which states that humanity has wiped out 60 per cent of mammals, birds, fish, and reptiles since 1970, my desire to conserve our world’s wildlife is reaffirmed anew.

Every holiday you undertake with us contributes funds to A&K Philanthropy and its excellent animal conservation and local community benefit programmes. It’s a simple and easy way to help protect animals including rhino and leopard, and benefit local communities, while you enrich your life through experiential holidays. I have designed a safari by private jet that makes it possible to visit the world’s most intriguing wildlife in their dramatically varied natural habitats on one remarkable journey in the company of leading conservationists.

Pencil it into your diary: 15 Feb – 10 Mar, 2020. A&K’s 25-day Wildlife Safari: Around the World by Private Jet starts at $139,950 per person.

Discover Abercombie & Kent’s portfolio of luxury travel tours: abercrombiekent.com

Philippe Sereys de Rothschild photographed at the Grand Mouton residence

Philippe Sereys de Rothschild, head of the Mouton Rothschild family wine empire, recently inaugurated a new prize for the arts. Darius Sanai celebrates with him and his family members on the night of the awards, and speaks to him about patronage, the wine world and running one of the world’s most celebrated family businesses

Photographs by David Eustace

It’s a cool, clear evening in the vineyards of the Médoc, the triangular strip of land that stretches from Bordeaux to the Atlantic Ocean, along the estuary of the Gironde river, and which contains the world’s most celebrated wine estates. From the terrace of Château Clerc Milon, rows of perfectly groomed vines stretch out to the left and right; immediately below the terrace, a lawn drops down along a path lined by exotic bushes, to a steel-and-glass marquee. Beyond this temporary structure, which was erected the previous day and will be gone by morning, are more vineyards, undulating up towards Château Mouton Rothschild, over the brow of a small hill.

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The Mouton Rothschild vignoble in Pauillac

As the sun goes down, guests sip Rothschild non-vintage Champagne or glasses of deep red Château Clerc Milon 2009, chatting about the show they have just seen. Suddenly, there is a musical introduction and all heads turn towards the stairs leading up from the lawn, from which 20 or so beautiful young people emerge, with a mixture of shyness and performance, and walk two by two through the crowds before dispersing into smaller groups and chatting to guests over glasses of Champagne.

The new arrivals were dancers from the Ballet de l’Opéra National de Bordeaux; earlier, they had given the performance everyone had come for, in the marquee by the vineyard, in front of 100 seated guests. The show marked the second edition of the biannual Prix Clerc Milon de la Danse (Clerc Milon dance prize), awarded by the Philippine de Rothschild Foundation to two outstanding dancers from the Bordeaux ballet. The two winning dancers, Alice Leloup and Marc-Emmanuel Zanoli, had been awarded their prizes at the end of the show; now, after a brief interval, they and their colleagues were emerging, perfectly attired for the evening, to join the soirée. It was a magical moment during a spectacular evening.

The private wine cellar at
Château Mouton Rothschild

The prize is the brainchild of Philippe Sereys de Rothschild, Chairman and CEO of Baron Philippe de Rothschild SA, and his siblings, Julien de Beaumarchais de Rothschild and Camille Sereys de Rothschild. When their mother, the legendary Philippine de Rothschild, passed away in 2014, they inherited one of the most famous empires in wine. Their company, Baron Philippe de Rothschild, owns Château Mouton Rothschild, one of the five ‘first growths’ of Bordeaux and among the most celebrated and expensive red wines in the world; Château Clerc Milon and Château d’Armailhac, also classed-growth Bordeaux châteaux; the Bordeaux brand Mouton Cadet, and much else.

Thomas Jefferson, one of America’s founding fathers, was famously fond of Brane-Mouton, as Mouton Rothschild was then known, and shipped some over to the nascent United States in the 1780s. But it was Baron Philippe de Rothschild, the grandfather of Sereys de Rothschild, who elevated the wine to worldwide fame, first modernising the estate in the 1920s and insisting on ensuring quality by bottling all wines at the Château, and then asking a different celebrated contemporary artist to create a new label for Mouton Rothschild every year. The labels read like a who’s who of 20th and 21st-century art: among them are Jean Cocteau (1947), Georges Braque (1955), Salvador Dalí (1958), Joan Miró (1969), Marc Chagall (1970), Wassily Kandinsky (1971), Andy Warhol (1975), Keith Haring (1988), Lucian Freud (2006) and Gerhard Richter (2015).

Philippe Sereys de Rothschild with his daughter, Mathilde

The gardens of the Rothschild estate

The Baron’s daughter, Philippine, strengthened the link with the arts – she herself had been a celebrated actress, and married one of France’s most famous actors, Jacques Sereys – while growing the business; and so, on this evening surrounded by vines under a sky washed by the nearby Atlantic, with stars emerging from the fading blue, it seems entirely appropriate that her children are both honouring their mother and supporting the arts with this new prize.

Read more: 6 reasons to buy a Hublot Classic Fusion Bucherer Blue Edition

Certainly, the winners seemed delighted: “I am amazed,” Alice told me, with a big, dimpled grin, her perfect, wavy hair and immaculate outfit belying the fact that she had been dancing on stage minutes previously. She was sipping at a glass of Champagne shyly, as if it were a rare treat to indulge. “It’s a great thing for them to do, although I never thought I would win. It just helps make all the hard work worthwhile.”

Dancers from the Ballet de l’Opéra National de Bordeaux perform at Château Clerc Milon

The next morning, I meet Philippe Sereys de Rothschild in a drawing room at Grand Mouton, the family’s traditional residence, a few hundred metres away in the heart of Château Mouton Rothschild. The room is square and traditionally decorated; four chairs have been placed facing inwards towards each other. Between two of them is an occasional table, on top of which has been placed a tray containing still and sparkling water, small bottles of tonic water, and two halves of a lemon on a saucer. Sereys de Rothschild walks in, erect, greets us and offers us drinks, before settling down in a chair, squeezing one of the lemon halves into his glass of tonic water.

He was up, he says, until past 2am the previous night after the party ended, doing a debrief with his nephew Benjamin, who had helped organise everything. “Yes, last night Benjamin said, ‘We’ve got to do a debrief to know if it went well or not,’ and I said ‘OK, OK.’ So, we went through all the stuff that went well and didn’t go well, and it was the best time to do it because we had everything freshly in our minds. When people visit Château Clerc Milon they know it’s the family, they know it’s the Rothschilds. So, the standard is up there and you can’t disappoint them. Nothing is worse than disappointing people who have come to have a great evening and don’t have a great evening.”

All three of Philippine’s children were at the event; while Philippe oversees, Julien de Beaumarchais de Rothschild, his younger half-brother, is responsible for the collaboration between art and wine at Mouton, and gave a casual and touching tribute speech on the terrace the previous evening, after the formal speeches in the marquee led by Philippe.

It seemed to be quite a grand success for an event that is so young, I observe. “It is a young event and it actually happened much more quickly than I thought it would,” Philippe says. “The Foundation was created in 2015 and we did the first Clerc Milon prize in 2016. We wanted to start the foundation with something local. That was very important for us. Something local, something artistic and something linked to live performance. And all that was linked to my mother, because my mother was very close to the theatre, the Opéra de Bordeaux. Brigitte Lefèvre (president of the jury of the prize and a former administrator of the Opéra Garnier in Paris) really came in very quickly. I gave her a call one day; it was very interesting, she was outside on the street coming out of a documentary on ballet and I said, ‘I’ll call you back’ and she said ‘No, no, no, don’t call me back – what do you want?’

“I talked to her about the prize and everything and I said, ‘I’m looking for someone who could chair the jury.’ She said yes immediately, and it was in November 2015, so it was very, very quick. She was able to put the jury together quickly because after 20 years at the Opéra de Paris, she knows absolutely the whole planet in her world. So, the first prize was awarded in July 2016 and we were very happy.”

It was Lefèvre, he says, who had the idea of the prize specifically supporting young dancers and those who “cement the group together”. “And don’t forget,” he says, “the Foundation only has been going for three years. When we created it in memory of my mother, everyone knew she was very linked to the arts. As you know Mouton is also very linked to art: wine and art, art and wine. We knew we wanted a foundation carrying the name of my mother, and with an artistic purpose. That was very clear. So, we started there.”

Read more: Grand Luxury founders Ivan & Rouslan Lartisien on curating travel

A Harvard MBA, Sereys de Rothschild worked in the finance sector on graduating; in the late 1990s he was chief financial officer (CFO) of an Italian subsidiary of what is now the Vivendi conglomerate. He then ran a successful private-equity fund and created a high-tech investment fund. Was he always fated to take over the family company, I ask?

“No, not at all,” he says, very definitely. “I don’t feel that family businesses have to be run by families. Family business have to have family values, family principles, family ethics, family identities, yes. But that does not mean they have to be managed by the family, which is a completely different thing. We could have said, ‘Managers manage and the family is just there to define the values, principles, identity and culture.’ It was a choice, because it’s true that the family is very much linked to this company, and it was a choice that I made, to say that I was ready to spend much more time with the company, to make sure that we develop it the right way. There is a lot of development going on now, and I thought that the best way to ensure the development was done the right way was to implant myself more in the company. But it could have been different. I did many other things in my life before – some environmental projects, I managed a software company, I developed schools, I did a high-tech fund.

“But I’m not doing it alone, even if I’m managing this company with the objective of developing it, I’m doing it with the family. They are all on the board and we all decide together, and we all take decisions together and we all decide on the investments and whatever we want to do, together. I’m there to manage it and for the leadership, but they are there with me.”

Château Clerc Milon is a different kind of château with a modern vat house designed by architect Bernard Mazières

Is it different, I ask, managing a family business to running other businesses? “Well, although I’m completely conscious of the fact that it’s a family business, I really try to manage this business by asking myself, whenever I take a decision, is it good or bad for the company? Period. Because otherwise, you mix everything up. Don’t forget that we have 370 people working in this company, so what is important is to make sure that the company lives on and that I pass it on to the next generations. If I start thinking to myself I should do things differently because it’s a family business, then you make the wrong decisions. You have to make a decision, as a business decision, as a company decision.”

The Château Clerc Milon label features a pair of dancing clowns made of precious stones

Has his experience in the broader business and financial sector helped? “I think what has helped me is working with people with very different profiles. That’s been the most valuable thing. When you go from an environmental project to working with software engineers, working with more high-tech people, working with people in schools, you get used to going from one profile to another and to working with very, very diverse profiles. So, I can talk with people in the vineyards and I can talk with people on the market and I can talk to the people with the Ryder Cup [Mouton Cadet is the official wine of the Ryder Cup] or I can talk with the manager of the Festival de Cannes. They’re completely different types of people and the fact that I have had my own professional experience before has helped me to really make the difference between managing people with very different profiles. That’s probably one of the characteristics of the wine business, is that you really go from the vineyard up to the end of the line, who can be art collectors.”

The wine empire’s crest on the walls of the cellar

Over the past 20 years, wine has made a transition from being a drink enjoyed by those with the taste and means to acquire good bottles, to a trophy with, at the highest level, an ever-spiralling price. A case of Mouton Rothschild from a good vintage can cost as much as a new compact car, or a haute-horlogerie watch. Is Sereys de Rothschild in the luxury goods business, I wonder?

“No. I don’t really know which business I’m in,” he says. “In other words, in some ways we are in the luxury business, in some ways we are in the collecting business, in some ways we are in the limited series business, in some ways we are an agricultural product, in some ways we are in the tasting and drinking business. Where are we? I haven’t got the faintest clue. But that’s what makes it exciting and very difficult because we are not a luxury product, but we are in some ways a bit of a luxury product.”

Has China, which has been at the heart of the soaring demand for fine wines, affected the way the company does business?

“I would say it has affected it in the right way. What I like about the Chinese market is that it’s really a market of people who like wine, who drink wine, where wine has become part of their life. When they need to celebrate something they think about wine, which is very important, and it’s become a market of people who know wine well and who talk about wine in a very intelligent way. And don’t forget that Chinese people are very sensitive to education, and you cannot understand wine without having some sort of an education process. There is an initiation approach to wine and the Chinese people have understood that. And when you listen to Chinese people talking about wine, some are astonishingly knowledgeable. It’s real wine market in the long term, and a market of real, high-quality wine consumers.”

The wine world has evolved in recent decades. Mouton Rothschild and its fellow ‘first growths’ remain at the top of the ladder, but competitors have arrived from Napa, Italy and elsewhere, and the mid-market, where Mouton Cadet sits, has never been so crowded. What are the challenges facing the business?

“Staying at the top, which is sometimes more complicated than one thinks. The exposure that we have in the media has been multiplied [by the rise of digital media], which puts more pressure on us. It makes us more well-known, but at the same time if you make a mistake or if something goes wrong everyone will know it, so it exposes you much more. But at the same time, it’s very exciting because you’re much closer to the consumer. If they open the bottle and they don’t like it, you know. And 20 years ago, we could guess, but we didn’t know. So, you’re much more in contact with the end of the line, than we were before. Which actually makes things much more rewarding because you know what you’re there for. You know that you’re there to satisfy customers, much more than 20 years ago. So, it’s actually a very rewarding thing and the digital revolution is for me, very positive. The more I hear about the consumer and the more I know the consumer is happy, the happier I am.

Read more: Moynat unveils new collection of bags in London

“That’s the first thing. The second thing is that the market has become much more competitive, at all levels. In other words, it has become very competitive for Mouton Cadet because there are all the Italian wines, all the Australian wines, all the Chilean wines. So we have to fight for our space. But at the same time, it’s also true for cult wines and iconic wines. In other words, the first growths of 20 or 30 years ago were not quite alone, but the market was not too crowded. Today it’s getting more and more crowded. At the same time, it’s exciting because it’s a challenge and it puts pressure and you’re there to make things even better all the time.”

Château Mouton Rothschild has also been working to support the arts, in the form of the collections at Versailles, the legendary palace outside Paris. How do the two châteaux work in tandem, I wonder? “Mouton is linked to paintings, Clerc Milon is linked to dance. So that’s why we really have two very different things. Back at Mouton, because we’ve always been exposed to contemporary art, and it so happened that a certain number of artists that exhibited at Versailles – Anish Kapoor, Lee Ufan and Bernar Venet – also did the label for Mouton. We got in contact with Versailles and said, ‘Can we help you in any way with your contemporary art exhibitions?’ They were very enthusiastic and that’s what we decided to do. Without being immodest, Versailles is an institution, but so is Mouton in a way, although that’s not due to me, it’s been an institution since before I was born. Getting two institutions together that both represent in their own way the ‘art de vivre à la française’, I thought was… rather a great mix.”

There are sounds of activity coming from outside the room; Grand Mouton is gearing up for a celebratory meal with the jury. Sereys de Rothschild smiles as he shakes hands goodbye, and disappears through one of the doors for Sunday lunch with some leading lights in the arts, whom he is supporting. As I walk out along the perfectly raked gravel, and look at the immaculate lines of vine leaves alongside me, I reflect that the faces of the young dancers, the jury members and the patrons may be different, but everything they are doing is comfortably, commendably, consistent through the centuries.

Philippe Sereys de Rothschild on his favourite vintage of Mouton Rothschild:

“It’s difficult! I could mention the greatest vintages: 1945, 1959, 1961. The trouble is, I drank bottles of 1961 when I was much younger – 18 to 20. I drank a bottle of 1961 for my sister’s wedding, and another on her 10th wedding anniversary. Some guests came from England and one person was born in 1961 so we opened a bottle. Each time was different, so how can I say which was the best 1961? The magic about these wines is that they are never the same. They are always fascinating, they are always fabulous. So, if you ask me whether I prefer the 1945 or the 1961, I’d give you one answer today, and a different answer in five years.”

Discover Château Mouton Rothschild: chateau-mouton-rothschild.com

This article originally appeared in the Autumn 2018 issue. Click here to read more content: The Beauty Issue

Grand Hotel Kronenhof in winter with its natural ice rink

Winter is here, and the world’s illuminati, glitterati and party-rati are agglomerating in mountain resorts, from Aspen to St Moritz, to see the year out, talk about next year’s business over magnums of Domaine de la Romanée-Conti, and, oh, also do some skiing between breakfast and long lunch.
Nowhere has such an aggregation of grand hotels as the Upper Engadine valley in Switzerland, home to St Moritz and a string of other villages studded around lakes, forests and various ski mountains.

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The discerning luxury traveller, looking for both solace and exclusivity, might be drawn away from the town of St Moritz and its Masseto-sipping revelers, and towards Pontresina, a village ten minutes’ drive away in an adjoining valley, and specifically to the Kronenhof, its most luxurious hotel (and sister to St Moritz’s own celebrated Kulm).

Why go now?

Late December and early January are when a significant section of Europe’s aristocracy decamp to the area; snow is plentiful right now, and you’re bound to know people to drop in on.

The welcome

Draw up the courtyard, at the lower end of a long high street studded with sixteenth and seventeenth century buildings, and you feel you have arrived at one of Europe’s grand old hotels. Doormen and receptionists have that perfect (and hard to find) blend of courtesy, genuine enthusiasm, and professionalism, without the over-formality of some hotels in the area that always makes you feel like you’re wearing the wrong shoes.

The grand lobby area

Walk through the reception area and you are in a vast, beautiful, series of high-ceilinged grand reception rooms, all with picture windows out over the forest and valley below; to one side is the Val Roseg and the high glaciers of the Bernina peaks.

Getting horizontal

Our suite was lushly but refreshingly decorated in eggshells and taupes; drawing the curtains revealed the same stunning view down over snow-laden pine and larch trees, across to the mountainside beyond, and the edge of St Moritz in view by the mountain’s right hand ridge. There was a spacious balcony for those chilled-out late night Cognacs.

A Deluxe Premium double room

A quick trot down a couple of marble staircases takes you to the Kronenhof’s piece de resistance, a vast spa and pool area carved into the mountainside at the bottom of the hotel. The huge pool, with windows all round, has a mesmerising panorama across the Engadine valley, to the mountains separating this beautiful and isolated region from the rest of Switzerland. From the spa pools, indoor and outdoor in the snow-covered garden, you can see the Corviglia ski mountain above St Moritz with crystal clarity; we liked melting into the spa pools and looking at the mountain we had been skiing on.

Read more: Model and actress Adrianna Gradziel on female solidarity

The hotels dining options include the Grand Restaurant (pictured here) and Kronenstübli

Anything else?

The Kronenhof’s restaurant, the Kronenstubli, is based in the original owner’s house above what were the hotel’s stables in centuries gone by.  There is also a grand dining room where very thorough Swiss breakfasts (including just about every herb, nut and seed going) and lavish dinners are served, and a beautifully laid out children’s dining room, a miniature version of the same, next door.

After dinner, stroll along the town’s ancient high street, taking in the views – it’s on a ledge above the valley floor – and steeling yourself for the next day’s skiing. As classy as it gets, without the crowds.

Winter rates: From CHF565 for two sharing a double on a half-board basis (approx. €500/ $600/£450)

To book your stay visit: kronenhof.com

Darius Sanai

Model and actress Adrianna Gradziel. Instagram: @adriannagradziel

LUX contributing editor and model at Models 1, Charlie Newman continues her online exclusive series, interviewing her peers about their creative pursuits, passions and politics

Charlie Newman

THIS MONTH: At the age of 30, Adrianna Gradziel’s career resembles someone twice her age. With campaigns for La Roche Posay, Clarins, Vichy, Pandora, a Mercedes TV advert and a Van Cleef and Arpels perfume advert under her belt, Adrianna branched off into the world of acting, landing roles in two French TV series as well as the French Rom-Com I kissed a girl. Born in Vienna, she speaks and has performed in three “and a half” languages: English, Polish, French and a little bit of Italian. Charlie speaks to Adrianna about the development of her career, female solidarity, and dealing with rejection

Charlie Newman: What was the reaction from family and friends when you started modelling? Were they supportive?
Adrianna Gradziel: I don’t know if my parents were all that supportive with the idea of me becoming a model because
they thought I would be better off studying and staying at home. I started, like a lot of models, really young at 15 so I moved out of home at 17, inevitably they were a bit worried. But then after some time they realised everything was going well, that I didn’t party wildly and that they could have confidence in me. At the beginning they thought the job was dangerous, with strange people and maybe a bit superficial, but then they saw that I was making something out of my life, and how happy I was working.

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Charlie Newman: Was modelling something that was always on your radar or was it a total shock when you were approached?
Adrianna Gradziel: Actually, modelling wasn’t something I was thinking about at all. But then I was approached on the street by a mutual friend of my parents who was a model agent in Vienna and he was the first to sign me. I felt really flattered at that age because all of us in our teens are really uncomfortable in our bodies. So for someone to tell me I could model and go and work in Paris made me feel great about myself.

Charlie Newman: What has been a career highlight for you so far?
Adrianna Gradziel: One of my career highlights so far has definitely been working with Jean Paul Goude with whom I shot a Galerie Lafayette campaign. He’s such an incredible artist – he was the guy who basically created Grace Jones and the artist she became. I was so impressed by the way he works because he is super friendly and knows exactly what he wants, he gives good direction and he doesn’t have to be rude to get people to listen. I really love working with people like that.

In October, I had a job in Spain where I worked with a Spanish director called Victor Clement for a TV commercial. He was exactly the same type of person who is very creative, loves his job and comes up with great ideas quickly. It was amazing to see someone so creative within the constrains of such a commercial job, I loved working with him. For me, it’s about working with great people.

Charlie Newman: If you could work with any photographer who would it be and why?
Adrianna Gradziel: There are a lot of people whose work I really admire but are impossible to work with as they have died. Helmut Newton for example, whose imagery of strong and sensual women I love because it’s so powerful. I also love the softness of Paolo Roversi’s imagery, it’s very feminine too but in a different kind of way, it’s more vulnerable and sensitive.

Instagram: @adriannagradziel

Charlie Newman: What would you say are the best and most challenging parts of modelling are?
Adrianna Gradziel: The best parts of modelling are definitely travelling and meeting fun, creative, crazy people. I wouldn’t have got to where I am today without all the bonds I’ve created with them and you’re paid really well. What is definitely more challenging, and for me personally, is that I had a little too much weight for the job. It was really hard for me to live up to the expectations of the job; to always be in shape, always happy, always smiling. Sometimes you have to be a little bit of machine. I’m a very sensitive person, I’m not the same person everyday so sometimes I wouldn’t feel so great, but that immediately comes through in your work. This is very tough because you’re expected to be this joyful, sparky person all the time and if you’re not then people aren’t afraid to tell you you’re not on top which is super hard.

Another part is that you can be really lonely a lot of the time when you’re working. When you move out of home so young you don’t have friends everywhere, you’re constantly travelling and often alone. One negative which I have now found to be a positive is the fact that you don’t know when or where your next job is going to be. At first it’s hard to adjust to this carefree lifestyle, but now I enjoy the fact that not every day is the same. Also when you’re young it’s really hard to stand your ground when people are being rude or expecting too much of you. Now that I’m 30, I’m not afraid to speak up.

Charlie Newman: What was the process between you transitioning from modelling to acting? Has it always been on the cards or was it something you just fell into?
Adrianna Gradziel: Acting was something that has been on my mind since I was younger but I never really had the courage to say it out loud, it always seemed like some weird dream you can never actually do. Then when started modelling I kind of forgot about it, but my agent and ex-boyfriend in the same week mentioned that I should try acting because they thought I might like it. I then enrolled at the Cours Florent and I quickly realised how much I enjoyed doing it. The transition from modelling to acting is tough though because you don’t feel legitimate at the beginning. So many models try acting, yet not so many are good at it and also because you’re pretty, people often think that opportunities come more easily. I always had the feeling that I needed to be better and do more so I could prove them wrong because models are seemed as superficial etc. I even cut my hair to make me look more interesting or maybe more arty, but in the end I think it all comes from inside.

You just have to train really hard to be a good actor, you can’t just rely on natural talent. I didn’t feel good enough to be an actress at the beginning. It wasn’t until only recently that I started to believe in myself. You might think acting and modelling are two similar jobs because it’s about an image on a screen, but it’s not at all the same. Acting is about emotions, whilst modelling can be but it’s mostly about selling something ,which are two completely different things. A director’s camera and a photographer’s camera expect two different things from you.

Read more: How Hublot’s attracting a new generation of customers

Charlie Newman: What has been your favourite character to play so far and why?
Adrianna Gradziel: I think my favourite character so far was Natalia from a French comedy TV show. It was a great role. She was a Polish lady who moved to France with her husband and was really unhappy with him so she was very grumpy all the time! I loved playing this character because she was a foreigner in the country she lives in and felt lonely, which of course I could relate to. Mainly, it was fun to play the role because it was a comedy and a cliché of how we see Eastern people. I really enjoyed playing out this cliché, for example, Polish people only eat potatoes and all those kind of jokes. The preparation for it was interesting too because I had to have a Polish accent in English! It helped train me in accents and apply it to future projects.

Instagram: @adriannagradziel

Charlie Newman: If you could work with any director who and why?
Adrianna Gradziel: Wow there are so many! Firstly, I love Wes Anderson movies because of all the juxtapositions. They’re childish yet elegant, deep but shallow, entertaining but violent all at the same time, which is a most amazing combination. I love Pawel Pawlikowski’s work, it’s extremely beautiful whether it’s the frames, the light or the writing. His films are very moving, I feel like he is a director who really has something to say and that it’s really crucial for him to tell the story, it’s in his flesh.

Charlie Newman: What was your favourite film growing up as a child and what’s your favourite movie now?
Adrianna Gradziel: My favourite movie when I was growing up was all the James Bond movies because we watched them with my family and it was always such a pleasant family moment. Growing older, tastes change. It’s difficult to pick one movie but I think The Double life of Véronique has moved me the most, it has a special place in my heart.

Charlie Newman: With acting and modelling comes relentless rejection which can be extremely tough -how do you overcome this? Do you have any advice for other aspiring models/actors on how to combat
it?
Adrianna Gradziel: This is a great question because there aren’t many jobs out there where you experience daily rejection. At the beginning it was so tough because I permanently felt that it was for a personal reason, therefore I took it personally. I was constantly trying to adapt to something I could’t control. Then one day when it wasn’t bearable anymore I thought maybe I should actually start doing some spiritual evolution inside of myself, see the bigger picture and not take myself too seriously. Now, I know if I don’t get a job it’s only because it’s not meant to be, and to have more faith in myself. Also I think if you chose this line of work, you have to accept that rejection becomes part of your daily life and you shouldn’t see it as something damaging, but instead as something constructive. Rejection makes you learn about yourself, so I think it should be seen as more of a blessing than an injury.

Charlie Newman: You are working within two industries that are heavily involved within the MeToo movement. From your experience, is there anything you would like to see change personally? How do you think both industries can better themselves?
Adrianna Gradziel:  The MeToo movement is highlighting a huge global problem, affecting every industry. What I would like to see improve more is female solidarity. We can’t break out of the patriarchal society without coming together. We have to overcome the intimidation we feel by a woman who might be older than you, or prettier than you or whatever. If we are all looking out for each other then we can help one another to stand up for ourselves in testing times. Once that happens on ground level, then hopefully it will filter up to a political and economic level too.

Charlie Newman: Who’s your role model of the month?
Adrianna Gradziel: I have a a few! My mum, because I’m always so impressed by the fact that despite her age, she still sees life through a child’s eyes, she has so much energy and is very emotional and generous. My friend Valeria for being such a tough warrior and my acting teacher Tom because I look forward to his classes so much. They’re all very powerful people who give me light, inspire me and go further.

Follow Adrianna on Instagram: @adriannagradziel

Hublot Classic Fusion Bucherer Blue Edition

Hublot’s recently launched timepiece in partnership with Bucherer is at the top of our Christmas list. Here’s why it should be on yours

1. It’s classically beautiful

Dark blue and ageing copper make for an elegant, timeless look.

2. It’s limited edition

Often a loose term, but in this case, it’s actually true. Only 30 pieces have been made.

3. It’s two for the price of one

It’s designed by Hublot for the Bucherer Blue Editions collection, which means you get to say you have a Hublot watch and a Bucherer watch…

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4. It’s unusual

Hublot’s Art of Fusion concept seeks to combine unexpected materials; in this case, the watch’s case brings together ceramic and bronze.

5. It’s wearable with anything

Okay, so it might be slightly on the smarter end of the scale, but it’s surprisingly hardy too. The strap combines blue rubber with alligator leather for extra durability and comfort, and it’s water resistant up to 50m.

6. It will get better with age

Bronze is a material that develops over time, meaning it will only get more and more beautiful.

Convinced? You can buy online via: uk.bucherer.com/hublot-bucherer-blue-editions-watch

The Rosewood Beijing is one of Grand Luxury’s handpicked hotels

Grand Luxury is a curated hotel booking site and a concierge service through which clients can arrange exclusive, once-in-a-lifetime experiences. LUX speaks to the company’s founders, brothers Ivan and Rouslan Lartisien about handpicking their hotels, delivering first-class service and making the impossible possible

Ivan and Rouslan Lartisien

LUX: How did you take Grand Luxury from a start-up to a global business?
Ivan & Rouslan Lartisien: From a 3-person company in a maid’s room to a 100-person company based in Paris, London, Dubai, Mauritius, Philippines, Romania and Italy, Grand Luxury has changed entirely in just 10 years. To better serve our individual clientele, we strive to continuously exceed the boundaries of personalisation. We are now the 2nd largest booking force for luxury hotels in Milan, London, Paris, Marrakech. In 2018, we have also become the leading EMEA agency on the luxury segment. The explanation might come from the fact that since the very beginning we have always been truthful to our original values.

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LUX: You handpicked all of the 350 hotels in the booking collection, did you visit them all and what were you looking for?
Ivan & Rouslan Lartisien: We have visited 90% of our hotels and rely on a network of travellers we know since the very beginning for the rest. We also have a team dedicated to visiting hotels on a regular basis but the final choice is always on one of us two.

We are mixing objective and subjective considerations. First of all, the hotel must meet the core standards of a 5-star deluxe hotel. But there must be a rather unique feeling, a special “je ne sais quoi” that will make you feel you are entering in a one-of-a-kind property. A Grand Luxury Hotel might not even feel like a hotel anymore. During our selection process we must have the conviction that we are about to engage in the promotion of a most unique place and enchant our existing clients and of course the new comers to Grand Luxury who we shall lure to our exceptional universe.

Grand Luxury clients receive exclusive perks at hotels they book through the site such as the Baccarat Hotel in New York

LUX: What defines first class service?
Ivan & Rouslan Lartisien: For us, luxury starts on-line and off-line when one of us engage on a conversation with the client. Everything has its importance: from the property we had curated, to on-line photos, content and suggestions to enhance the trip. We then ask many questions, not in a formal and mechanic manner but in a way our engagement seem natural and genuine. It’s quite irrational but when you show interest and express empathy, it works.

Luxury used to be materialistic, brand-driven, “stuff”-centric. Today it is more about the “moment”, the parenthesis you open to break away from your daily routine or your busy occupation. From being a Mom of 3 teenagers to a woman who looks after her for that one week and away from the family.

To this end we select, inspect and curate places that are truly exceptional. Not from a physical stand point but from our client’s perspective and for what they really want or need.

Luxury is also about the “results”, the outcome of a trip: be it to celebrate a milestone event or to explore family roots, or simply get away and reunite with your spouse, your mom or your best friends.

LUX: How do the current trends in booking patterns differ from when you started 10 years ago and does it vary across culture?
Ivan & Rouslan Lartisien: To be honest, on some aspects – it did not change so much. We have been quite constant in our strategic vision as we had decided to focus on two salient points: a highly restricted selection of the best hotels in the world, and very personalised service, all of this with a digital twist! The combination of the very best hotels and quality service allowed us to reach a high ratio of repeaters. What has changed in the market is the quest for more experiential travel and the growing desire to experience a destination as locals. That is one of the reasons why Grand Luxury has completely revamped its website, it will be rolled out at the end of the year to embrace these new market trends. Of course, we have to adapt to the cultural aspects.

Read more: How Hublot’s attracting a new generation of customers

LUX: What are the top 5 guest demands?
Ivan & Rouslan Lartisien: Unlike some long lasting and rather terrible clichés, wealthy customers are not capricious and impatient. Their demands (we prefer to use the word requests) reflect who they are and what is important for them (in general or for this specific holiday). If this is a family reunion for a special occasion, all details count from smooth arrivals to small attentions for each member of the family and to make sure you meet these expectations, there is only one technique: ask many questions and anticipate! Do not leave anything to chance (this is good for every single client). Many contact us not to simply find a great holiday spot for them, but for a reason and over the years we had many situations e.g. this famous film director who needed a quiet place anywhere in Europe likely to inspire his writing therefore had to have a solid historic feel without being difficult to reach! This gentleman, a widower for a few months, who wanted to visit all the places he had been happy with his wife before she passed after a sudden leukemia. Imagine the amount of emotion behind his request.

This father who wanted to reward his only daughter for graduating brilliantly. Not a regular five-star palace hotel guest but who had decided to spend well over what he would normally do, to celebrate this milestone event in his family. This very rich family (2 children age 8 and 10) who decided to spend a whole month in Paris and give the children a true education in art, history, culture. They wanted to have a young university teacher every day, capable to take the children on a different experience in a nice, supporting yet demanding manner.

And one day, we had this Australian billionaire who wanted to propose on the third floor of the Eiffel Tower. He wanted to have it for himself and the woman of his life. We managed to obtain a yes from the very traditional institution at a rather high price. Our client was a bit hesitant to spend so much and we knew he was open to an alternative suggestion. In a day we managed to contact the Musée Rodin and to privatise the famous museum for an hour after closing. Champagne had been arranged next to Le-baiser (the kiss) one of the most moving piece of Rodin and of course it work very well as she said yes and was incredibly touched by the gentleman’s surprise proposal.

LUX: Can you tell us more about some of the sought after experiences Grand Luxury can arrange?
Ivan & Rouslan Lartisien: We always try to work on experiences that will work on emotion, memories and take you more deeply in the cultural essence of a country. For instance in Paris, we worked on a specific program about French gastronomy. We picked the clients at 5am at his hotel, brought him to a very nice bakery in the heart of the old Paris to see before the opening of the shop how the croissant and baguette are made, taste it fresh out of the oven. Then the client took a basket of bakeries and was brought on a Riva on the French Seine to eat on a nice private breakfast-cruise, with Champagne of course as you are in France. Then, the client was brought back to his hotel just in time to see the arrival of the food supplies at the Michelin-Star restaurant.

The Royal Mansour in Marrakech is another of Grand Luxury’s hotels

LUX: How is luxury travel evolving?
Ivan & Rouslan Lartisien: The big change we’ve seen in the last few years is the way people expect to experience a destination. Today, all of our clients from around the world want to feel like a local when they visit a destination, so we bring them experiences that will show them the heart and soul of the place. We have guides in each destination who are really knowledgeable about certain aspects of a place, so we’ll call the guide that best fits the preferences of the guest. In terms of hotels, we’ve seen that more and more people want a more residential feel in the place they stay, so they have a kind of home to go back to in the destination. This is something we’re seeing more and more of with luxury travellers.

The Grand Luxury app functions as a digital personal assistant

LUX: Is technology increasingly important to travellers or do they want to be off the grid and why did you launch the app to accompany the online site?
Ivan & Rouslan Lartisien: Technology for us at Grand Luxury Hotels is absolutely essential. It has never been used to replace staff but to increase value for our clients. The App is a perfect example. It is a unique opportunity for our customers to have their own assistant directly in their pocket. A transfer, the best new trendy restaurant close to your location, flowers or caviar in your room in less than 30 minutes, a great ballet or musical to go to in the evening! We make it easy for the customer to choose and book among our curated list of partners. And for us, technology is here to answer to clients who want easy and quick options. But if they want to speak to their dedicated adviser, they can of course chat with him/her anytime through the app!

LUX: What can users expects to see with the upscale concierge service?
Ivan & Rouslan Lartisien: Anything, there is no specific limit. It Is all about the client’s needs and wishes. 3 years ago we set a special trip for a small group of opera fans which was meant to end in Prague. On the last night we booked Don Giovanni at the Estates Opera House (where Mozart debuted the famous opera). We had told our clients that a supper would be served after the show but we did not mention where. We had actually arranged for our group to have dinner on stage … with the cast!

On another occasion we had set a wedding anniversary in Venice. The clients (a very nice couple in their 70s) had decided to treat themselves to a long weekend in Venice. Nothing too original so far – but as they head to the restaurant for a dinner we had booked for them, we sent them by boat to a small palazzo instead, where their family and close friends were waiting for them (we had arranged the group to travel a day after and of course made sure their were completely invisible so another of our Venice property was chosen) the family had asked us to surprise their parents, they also wanted to pay for the stay and finally add a fun touch and a small show at the palazzo to also recognise how exceptionally loved the couple was.

LUX: Where will Grand Luxury be in 5 years?
Ivan & Rouslan Lartisien: 5 years ago we had approximately 10 employees. We are now almost 100. The only limit is our imagination. We already have so many plans for the coming months : full relaunch of our website under a completely new design, deepen our offering with far more experiences to offer, launch our new website www.grandluxurycruises.com … Just for one year. What is sure is that Grand Luxury wants to position Itself as a luxury brand offering 360 degrees offer in the travel industry.

Discover Grand Luxury’s list of hotels: grandluxuryhotels.com

The Big Bang Unico Teak Italia Independent, only 100 of which were made

Hublot is fusing smart technology with sleek design to enthral a new generation of customers. Jason Barlow reports

Hublot is enjoying a renaissance. A renaissance that began with four weeks in the global spotlight this June, its prominence during the most compelling football World Cup in a generation exposing this most quixotic of watch brands to a huge new audience.

Inspiring an allegiance between a brand and a client is way more complicated than simply (expensively) forging a partnership with the world’s biggest football tournament, Formula One, or any number of individual ambassadors. Clearly, it helps. But it also helps when the brand in question has something genuinely interesting to say. There are lodestar names in the world of haute horology – Rolex, Patek Philippe, Audemars Piguet – and there are arrivistes, upstarts. Too many to name, in fact, and each freighted with a different set of promises. But certain attributes rise above the rest. Innovation. An engineered aestheticism. Authenticity. This last one is a cornerstone of the entire luxury edifice, and takes time to establish.

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Some get there with incredible rapidity: to take an example from a parallel world, Bugatti began making cars in 1909, artisanal Italian supercar maker Pagani only in 1992. The latter’s cars are the Fabergé eggs of the automotive sphere, precious beyond belief, Pagani’s connection with its clients the ne plus ultra of the car world. Or think of the Marchesi Antinori winery, whose classic Chianti production spans an incredible 26 generations, all the way back to 1385. An astonishing HQ in Bargino, Tuscany, acts as a temple to Antinori’s status and relentless ambition.

Hublot CEO Ricardo Guadalupe and Jean- Claude Biver, head of watchmaking at LVMH

Hublot made its debut in 1980, but has navigated its way to a position of formidable brand power. In 2017, it enjoyed a record year, with a growth in sales of 12 percent, against an industry-wide backdrop of reduced revenues. How has it achieved this? CEO Ricardo Guadalupe’s approach is a fascinating one to dissect. “At Hublot, we strive to have technology at the service of the aesthetics,” he explains. “For us, it is not a battle but a right mix to find.”

I ask Guadalupe to delineate the brand’s ambassador strategy.

“Firstly, we go where our clients are! We continuously focus on our customers, we elaborate our partnerships in accordance with the interests of our clients, to better suit their needs and their expectations. Football, cars, art and music are such areas where our customers are.

Read more: Moynat unveils new collection of bags in London

“We are partnered with FIFA and UEFA, which are the two most important organisations in the football universe. And with Ferrari, which is certainly the most famous car brand in the world. We do things
according to our motto: ‘First, unique, different.’ When entering a new partnership, we always research to fuse our world with that of the ambassadors. What is important is that the potential ambassador is already a Hublot client and that he/she loves the brand. This really matters for us.”

Brand ambassador Usain Bolt

It’s sometimes tempting to think that many high-end brands are 70 percent marketing confections, 30 percent watch. Tuning this approach with the right sensitivity and science is something Guadalupe and his team are acutely aware of.

“We try to have the same strategy for all the countries in order to allow everybody to be part of the Hublot world,” he says. “But of course, we have some differences and some specificities for some markets. In China, we do not do print advertising, only digital. We also stage events around our boutiques or around the department stores where we are present. We have some ambassadors linked to their country: [pianist] Lang Lang is known all around the world but in China he is even more than a superstar.

“Our prices start from about £3,000 and we have a large selection at different prices. It means every person with a budget for a luxury watch can find his or her Hublot timepiece. Besides, we indeed think that we sell a dream, but it is not necessarily the most expensive watch. It is just about the emotion the client shares with their watch.”

The Big Bang Referee watch, to coincide with the 2018 World Cup

Entry points are moot. When former CEO of Hublot Jean-Claude Biver (now head of watchmaking at LVMH, to whom he sold the brand in 2008) decided to lower the barriers to TAG Heuer ownership to bring in the next generation of customers, it risked diluting its appeal to older, wealthier, arguably more discerning clients. Here, too, is another link with luxury brands beyond the watch world, and it had to be done. Ask any CEO in the automotive sector to outline the challenges they face, and high on the list will be reaching millennials. They simply don’t have the same relationship with cars that their parents did, partly because connectivity means something very different in 2018 than it did in 1988. The smartphone is the device that conquered the world, not always beneficently. So, how does Hublot tackle this challenge?

“As in the car, your first watch cannot be a Hublot,” Biver says in his typically forthright way. “You need some culture and knowledge, and most importantly you probably need to buy first one or two ‘classic’ or ‘traditional’ watches, before being ready for a disruptif and fusion watch.”

And what of the threat posed by so-called smart watches? Here, surely, is the item craved by millennials, at the expense of traditional watch-making.

“I am fully aligned with Mr Biver’s view,” says Guadalupe. “Smart watches should be considered as an advantage for the Swiss watchmaking industry because they conquer the wrist of people who weren’t wearing any watch. Moreover, one day, those young clients will also be interested in owning a piece of art on their wrist – and this is what we do.”

Hublot watches are still made in Switzerland

The brand collaborated with tattoo artist Maxime Büchi

Guadalupe also believes that Hublot’s very youth permits the disruption desiderated by so many brands, including some heritage names. It also liberates Hublot from the urge to simply reboot past successes. Instead of yet another tribute to something, he’s more interested in using new material, such as ceramic or sapphire. The partnership with Ferrari is emblematic of this approach: Hublot’s Techframe imports Ferrari’s expertise in advanced materials, to thrilling effect – how does titanium, King Gold or PEEK (polyether ether ketone) sound? Working with Italia Independent’s Lapo Elkann also maximises
the opportunity for what the fabulously flamboyant scion of the Agnelli family calls ‘contamination’. Tattoo artist Maxime Büchi has worked wonders there.

Read more: Château Mouton Rothschild supports restoration of Versailles

But back to connectivity, and Hublot’s unique manifestation of the concept.

“We created our first connected watch, the Big Bang Referee 2018 FIFA World Cup, as it was a specific need expressed by FIFA,” says Guadalupe. “Wanting a customised watch for the referees, FIFA asked Hublot to conceive the perfect watch to accompany them on the pitch during matches.

“Moreover, it was not possible to have all the necessary information on a mechanical watch, that is why we did a connected one. Nevertheless, it has all the attributes of the iconic Big Bang. Its emblematic architecture cut out of the lightness of titanium, its bezel decorated with six H-shaped screws, its Kevlar insert. Even the display on its analogue mode dial could pass for the same aesthetic as that of the automatic models. It is certainly a connected watch, but it is first and foremost a Hublot watch.”

Hublot’s ‘digital boutique’ launch in New York

Two other over-arching trends can’t be ignored. Firstly, does the resurgence of interest in ‘analogue’ – more vinyl records were sold in 2017 than any year since 1988 – favour Hublot?

“I think we must combine the two together,” says Guadalupe. “Digital is important and we must be into it if we want to keep in the era of time, but at Hublot, we keep thinking that it is important to merge tradition and innovation. It is not because we created a connected watch that we are forgetting the past. A key of our success is we are able to find the good balance between those elements.”

The other is the rise of ‘experiential luxury’, the realm that exists beyond the mere act of acquisition. This is a major preoccupation in the luxury world.

“Hublot is aware that the key asset of an excellent customer relationship is based on trust, availability and flexibility,” says Guadalupe. “We have innovatively imagined a ‘virtual’ digital boutique that perfectly complements the role and presence of its physical boutiques around the world. By remotely offering its customers 3D-facilitated access to its products, knowledge and knowhow, Hublot is successfully creating a new bespoke customer service, and preserving the essential denominator of any relationship – that is to say the human connection. It is a new customer experience that is beginning in the United States before being rolled out across the entire world.”

Hublot’s moment looks set to continue.

Discover Hublot’s collections: hublot.com

This article originally appeared in the LUX Beauty Issue. Click here to view more content from the issue.

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

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

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

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

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

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

Each year, Parisian luxury brand Moynat selects one aspect of their craft to spotlight. This year the focus is clasps, buckles, closures, hooks and rings, as LUX discovers at an exclusive preview in the brand’s Mount Street Boutique in London

The Mini Gaby in Leaf

Artistic director Ramesh Nair‘s most recent designs for Moynat explore the mechanisms of the luxury brand’s bags with the aim of both creating seamless function, ease and elegance.

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The Esquisse Clip bag in Mandarine

Admiring one especially exquisite Art Deco inspired clasp, we’re told that the design is based on the pattern of an architectural arch that Nair was drawn to and photographed. Other closures have been developed for their movement, practicality and playfulness, taking inspiration from classical buckles and locks, or everyday objects. The clasp on the Esquisse Bag, for example, is a bulldog clip on a thin silver chain.

The collection also plays with materials. Encased in very thin layers of stone, the Mini Vanity bags are amongst the most innovative with versions available in sandstone, slate, and granite.

To view the full collection visit: moynat.com

Actress Isabelle Huppert photographed by Fred Meylan

Acclaimed actress Isabelle Huppert, 65, has appeared in more than 120 films since her debut in 1971, including her Golden Globe-winning turn in Elle in 2016, and The Piano Teacher, for which she won Best Actress at Cannes in 2001. She is also the most-nominated actress of the César Award, France’s national film award. Here, she considers the gender pay gap and the privilege of time with LUX Associate Editor Kitty Harris

1. As a woman in film, knowing that men are paid more than their counterparts, do you think things will change?

Yes of course, you can always wish for change, because obviously it’s a worldwide fact that women have still a lot to gain. When I started as an actress, I did everything possible to fight for myself. In a way, fighting for myself was fighting for women in general, but I always felt I had to be in a certain position in the films I was doing.

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2. What’s your greatest fear for future generations?

I think it’s more and more difficult to find a focus. Sometimes I see very young people having difficulty finding an aim in life. I don’t know why that is, maybe because there are too many options or not enough in certain fields. But I hope it’s only temporary in their lives.

3. How did you balance work with raising children?

I’m in a very privileged situation. It’s a lot more difficult for women who have to fight for time and to navigate with money problems. It’s a problem in everybody’s life to run after time, to consider that life is too short and days are too short to put everything together, but it wasn’t a problem for me.

4. Do you feel social media is enhancing or damaging our society?

I don’t know what to think about it, but it’s not important to my life. I have to say I am aware of it, of course – you have to live within your time and you cannot completely ignore it. Although I know some people do ignore it and, in a way, I praise them for being completely ignorant of it. It’s so difficult now to keep things private and secret. Everything is so much more exposed and open to interpretation and therefore, misunderstandings. It doesn’t only propagate bad; it’s great to be kept politically informed about how people experience difficulties and tragedies around the world. I wouldn’t choose whether it is good or bad. You can also take it as a game.

Read more: Andermatt Swiss Alps reveals concert hall & artist collaboration

5. Has there ever been a moment in your career where you have been misunderstood or misinterpreted?

There is always a misunderstanding, but you have to live with it – there is nothing you can do about it. Especially for life as an actress, you have a certain image through the roles you play and some of it is true and part of it is untrue, but that comes with the territory. The public side to it necessarily creates a kind of misunderstanding.

6. What for you are the biggest social worries at the moment?

Well, [my worry] is the same as it has always been – but maybe it’s more obvious now – the imbalance between wealthy countries and non-wealthy countries. And with all the movement with migrants, it looks like it’s getting worse and worse.

This article originally appeared in The Beauty Issue. Click here to view more content from the issue

The Zenith El Primero Elite

With its revolutionary new mechanism, Zenith has challenged a 300-year-old watchmaking standard. Rachael Taylor meets the innovator behind the brand

In the Jura mountains, a high-altitude stretch of Switzerland deeply embedded in watchmaking heritage, Julien Tornare is operating a start-up. A 153-year-old start-up. Or at least that’s the way the Zenith chief executive views his leadership of this watch brand in flux.

The past couple of years have been stacked with innovation for Zenith. At global watch fair Baselworld in 2017, the maison delivered a reboot of the quite aptly named Defy collection that has shaken up not only its own offering, but the watchmaking status quo. The star of that first new wave was the Defy El Primero 21, a high-beat chronograph that can offer timing accuracy to 1/100th of a second, should you need to be absolutely sure which of your colleagues can complete the morning coffee run the swiftest.

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The Defy Classic with a blue alligator leather strap

Six months later came the really big news. Defy Lab, an experimental line of watches powered by silicone oscillators, not metal, had the watch community ready to self-combust. This was the first time that someone – Guy Sémon, a physicist and former French navy pilot, who is now the general director of Zenith’s sister brand TAG Heuer, to be exact – had successfully challenged the 300-year-old balance spring method developed by Dutch horologist Christiaan Huygens, the man responsible for the satisfying swing of an oscillating weight on your wrist.

What in traditional mechanical watchmaking once required 30 individual metal components, can now be done with just one silicon part. As well as reducing possible mechanical complications by having only one component to maintain, and making the watch lighter, this alternative silicon-driven mechanism also uses less power, and so increases the power reserve of the watch.

Zenith watches are still made in its atelier in Le Locle, Switzerland

The Defy Classic

When the Defy Lab watches were launched, just 10 were made, and these experimental timepieces were very much sold as experiences. For an entry fee of CHF29,900, a small group of connoisseurs was inducted into the Defy Lab. Each was flown first class to Switzerland to collect their watch, and have dinner and a wine tasting session with Tornare and his boss Jean-Claude Biver, the charismatic president of Zenith parent company LVMH’s watch division. Between jovial sips and nibbles, the two pressed upon these early adopters that by supporting this launch, they are now part of watchmaking lore, and also that their watches might be less than flawless.

“There might be some corrections,” admits Tornare. “I told them, you’re buying the research so your watches may not be perfect. They understand that they are part of the turning point, not only for Zenith but for the whole [watchmaking] industry.” Rather than be put off, this collusive, pioneering spirit has the collectors rapt – and connected. “On their own initiative, they have created their own WhatsApp group,” says Tonare.

Read more: Why you need to see the Rodin “Draw, Cut” exhibition at Musée Rodin, Paris

While the Defy Lab launched to much fanfare – with watches delivered by drone to a packed-out preview as Biver shouted, “We are the future of watchmaking!” – the use of silicone has had its detractors, who are worried that this game-changing engineering could destroy traditional horology. “Every time we change something you have two different reactions,” muses Tornare. “Purists are often against change, but when you get to the wider population of clients and millennials, that’s what they want. They want to buy something that brings something new and creative. We have to work between these worlds.”

Though he refers to the purists as friends, it is the more adventurous crowd that Tornare is really pursuing with the new direction in which he has been pushing Zenith since his arrival at the brand 18 months ago. “I worked a lot with Mr Biver [when I first joined], we exchanged a lot on the DNA of the brand,” he says. “In 153 years of history, there has always been a very strong spirit of innovation. Now the big question is, how do we keep millennials interested in mechanical watches? If we don’t want to become a museum brand, we have to keep bringing new things.”

When speaking of Zenith’s innovation, Tornare refers to the El Primero, which, when it launched in the 1960s was the first Swiss-made, fully integrated automatic chronograph, making it revolutionary at the time. And the line remains one of the most respected automatic chronographs in its price range today. Yet, like the rest of the Swiss watch industry, Zenith got complacent in the boom times. “The whole industry became a little bit static, especially in the past 12 to 15 years when all the brands did so well with the first generation of Chinese [wealthy consumers] buying anything at any price. Maybe the industry became a little bit lazy. Global brands tended to look to the past, including Zenith. It’s very important to wake up. We need to build from our heritage, but also create for the future.”

The Zenith building’s facade bears the initials of founder Georges Favre-Jacot

Zenith’s manufacturing facility was renovated in 2012

Tornare is applying this methodology not only to the products that Zenith produces, but to the entire company ethos. And with freshly installed ping-pong tables and cosy weekly breakfast chats with the entire team, he is consciously creating a start-up culture within a heritage luxury business. The concept is so alien that the highly respected IMD business school in Lausanne, at which Tornare himself studied, is currently working on a case study about Zenith and the challenges of being a retrospective start-up.

The Defy Classic with a titanium bracelet

Yet, for Tornare, who has spent much of his 25-year career in watches outside of his Swiss homeland, taking jobs in Hong Kong and the US, it makes perfect sense. “We have to think differently,” he says. “Swiss watch companies, and those located in the mountains, such as Zenith, are turned to the past. When I came on board, I started talking about a start-up spirit. I want to be innovative and dynamic.”

Read more: We ask Corum’s CEO Jérôme Biard 6 Questions

With a large staff deeply ingrained in Swiss watch culture, spread over 18 buildings, it was a hard sell at first. “The first [breakfast] sessions were difficult as it was a bit of a one-way speech and people were not interacting, but by the fourth session they got the exercise and one watchmaker stood up and asked, ‘Why don’t we have big celebrities like other brands?’,” says Tornare, who deftly responded that the lack of star power comes down to budgetary issues. “For me, though, it’s not about ideas to implement, it’s about the exchange and to make them feel part of the adventure.”

Stacked watch plates during manufacturing

The next step in that adventure is to commercialise the Defy Lab watches. “From the very beginning, we didn’t want to have 10 prototypes and then stop there,” says Tornare. “I still remember as a kid at the Geneva car show, you could see so many great cars looking like space ships, but they would never get on the market.” This isn’t what he wants for his brand.

Moving Defy Lab beyond science experiment status to full-blown innovator requires scale, and Tornare is “95 percent sure” that just after Baselworld 2019 at the end of March next year, Zenith should release a more commercial offering of these watches. Production levels will depend on keeping to a strict testing schedule, but Tornare is hopeful of producing between 400 and 600 watches, which he expects to be offered at a more accessible sub-€15,000 price tag.

The margin of error is so high for the silicone oscillators, that should the shape be out by a micron (the silicone is cut by laser and hand corrected), it will not keep time accurately, and as such, each watch needs to be individually tested. Tornare should know more at the end of the summer, when his team return from their holidays and bring back the Defy Lab watches they have been testing in different environments. Not quite the strict lab conditions we expect from Switzerland, but this crowd-funded research most definitely fits in with the all-new modern attitude of this evolving watchmaking legend.

View Zenith’s collections: zenith-watches.com

The Heritage Corum Lab 01

Luxury Swiss watch brand Corum is known for its boundary-pushing designs and adaptability. Following the relaunch of the iconic Golden Bridge collection with a brand new all-black aesthetic, we asked the brand’s CEO Jérôme Biard six questions.

Jérôme Biard

1. What comes first innovation or heritage?

Innovation comes first as it becomes very quickly heritage: time is flying. We need innovation to go forward.

2. How does Corum capture and hold the attention of millennials?

We like to play with our Bubble collection and artistic partnerships. We are also coming out with disruptive collections like our new Corum Lab 01.

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3. Are women becoming more influential in the luxury watch market?

Women represent 50% of the population on earth which means that we have the potential to expand. Also, watches are more and more used as fashion accessories and specifically created for women, they do not make a man’s watch into a woman’s watch. This is the reason why, we recently launched the Eleganza, the epitome of classic female elegance and subtly. We also launched during Baselworld our new Golden Bridge Round Jewellery. Beside, we have Elisabetta Fantone, Canadian pop artist + Juliette Jourdain, French photographer as ambassadors since 2016.

The Eleganza collection by Corum

The Golden Bridge, Corum’s iconic timepiece

4. Is there such thing as a unique design?

We launched the Bubble collection in 2000 to push our customers limits and introduce them to the quirkiest designs on the market. At 52mm, the statement Bubble is instantly recognizable due to its size and weight. On the other end of the scale, we recently launched the Bubble Mini, a 17mm cocktail watch that can be stacked or worn alone.

Our in-line baguette movement set in our Golden Bridge has been unique on the market since its launch in 1980, and there is still nothing else like it.

Read more: Why Lake Como’s appealing to a new generation of travellers

5. Will smartwatches take over?

I don’t think that classic watches are in competition with smartwatches. I believe that people will always desire hand-crafted pieces made from luxury materials and know-how. The style, the craftsmanship exceed the function.

6. What’s your favourite Corum watch and why?

It’s difficult to choose only one. Golden Bridge + Admiral Legend 42 mm blue bracelet and blue dial. We recently launched the Admiral Legend 42 Cabinet de Curiosités de l’Hotel de Crillon par Thomas Erber, beautiful!

Discover Corum’s collections: corum-watches.com