Exterior of luxury ski hotel on the edge of a piste
Exterior of luxury ski hotel on the edge of a piste

Guests of five-star hotel Aman Le Mélézin can step straight out of the ski room onto the piste

Why should I go now?

The snow in the French alps this season is sensational; the skiing is velvet-powder perfect and Courchevel 1850 is a white-dusted fairy-tale.

It’s one of the prettiest and most exclusive resorts in the heart of the world’s biggest ski area, Les Trois Vallées. Courchevel somehow manages to balance quaint with outrageous; wooden shutters, horse and carts and traditional French boulangeries sit alongside designer boutiques, Michelin-starred restaurants and luxury hotels, of which ski-in ski-out hotel Aman Le Mélézin is one of the most sophisticated.

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What’s the lowdown?

The Aman is an elegant, grey chateau-style hotel right on edge of the Bellecôte piste, an easy green run down to the main ski lift station and the central village. Everything from the warm wooden panels, stone flooring and soft grey armchairs to the bonsais, artwork and Japanese sake cups has been carefully selected to create an atmosphere of calm, seamless luxury. It feels effortless and homely. Many of the doors melt into the wooden panelled walls so it takes time to find the hidden areas. Guests are invited to roam at leisure without the constant presence of staff breathing down their necks and with only 31-rooms it never feels busy. One afternoon, we had the spa entirely to ourselves and spent a few blissful hours drifting between the pool, hot tubs, hammam, sauna and rainforest shower, which pours to the accompaniment of tropical birdsong.

Luxurious sitting room with green velvet sofas, log fire and snowy landscape through the window

The cosy bar and lounge area at the front of the hotel

Meals are all served at Nama, the hotel’s restaurant which serves a limited but delicious French-style breakfast, and at night, becomes Japanese fine-dining. The kitchen is headed by chef Keiji Matoba, who creates innovative, authentic Asian dishes such as platters of melt-in-the-mouth fresh sashimi served on a bowl of ice, grilled black cod marinated in sweet miso and mochi sakura ice cream. The sake list is extensive with the option of a bottle or carafe, which comes in a hand-made Japanese ceramic jug.

Read more: Philip Colbert’s “Hunt Paintings” at Saatchi Gallery, Los Angeles

Downstairs is the new, spacious piste-side ski room where knowledgable staff literally put your feet into your boots and more or less onto your skis. If you’re feeling energetic, you can take the lift straight up and ski down into Méribel and over to Val Thorens all in time for lunch, or else enjoy the staggering views and mountain air with a vin chaud on the terrace of a restaurant whilst private planes fly overhead to land on the high-altitude altiport.

Sushi and sashimi arranged on a bowl of ice

A sushi platter at the hotel’s restaurant Nama

Getting horizontal

Our room was high-up on a corner of the building with two balconies providing views over the piste and village. The space was light and relaxing, minimally furnished in creams and light wood with white orchids. There was a horizontal window at the end of the bathtub, from which we could watch skiers gliding past.

Luxury ski hotel bedroom with a double bed and windows looking onto snowy landscape

Chambre Melezin with two balconies overlooking the piste and Courchevel

Flipside

The hotel is a little bit behind the times when it comes to tech, which may frustrate guests used to contemporary conveniences (there are no bedside iPads or digital concierges), but when you’re in the quiet of the mountains, perhaps it’s no bad thing to be dragged away from hyper-efficiency.

Rates: From €1, 100 (approx. £950 /$1,250) per night, half board

To book your stay visit: aman.com/resorts/aman-le-melezin

Millie Walton

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Portrait of designer Olivier Rousteing
Designer Olivier Rousteing with Cara Delevingne and other models after a catwalk show

Olivier Rousteing with models, including Cara Delevingne, after Balmain’s SS19 show at the Hôtel de Ville in Paris

The French label Balmain, known for its 1950s couture, has been turned into a leader of the 21st-century pack by its creative director Olivier Rousteing. Harriet Quick meets him at his lair in Paris to discuss glamour, music and diversity

“Glamour never went away but right now we don’t like to like glamour – it’s something taboo, a guilty pleasure. It is easier to say a grey oversized coat is chic and beautiful,” says Olivier Rousteing. Over the past eight years as creative director of Balmain, Rousteing has started a brilliant new chapter in Parisian glamour with his continual reinvention of the fashion lexicon, with his signature ballast-shouldered d-b blazers, crazy beautiful embellishments, and architectural silhouettes conceived for megawatt impact. There are many neutral, minimalist suits and swishy plissé skirts designed for 2019. He’s the master of unapologetic va-va-voom, the kind that is rewarded with fire-flame emojis on Instagram, the kind that speaks of female empowerment, dynamism and a knock ’em-out fighting spirit, a message that the brand spreads far and wide.

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Balmain’s spring/summer 2019 collection, staged late last year under the frescoed ceilings of the Hôtel de Ville in Paris, was a paean to the extraordinary depth and breadth of culture in the capital, to Rousteing’s own exploration of it and to Parisian savoir-faire. Model and actress Cara Delevingne opened the show in a sculpted metal bustier, a fluid white satin trench with exaggerated shoulders and utility trousers that would suit a modern-day Cleopatra. Extreme fan shapes in triple organza arched over the torso like an unfolded concertina, micro dresses were constructed out of a mosaic of Plexiglas and black graphic knits boasting white hieroglyphics. “We’ve also riffed on the origins of modern-day Paris – and, actually, modern civilization itself. My fascination with the impressive obelisks, pyramids and columns that date from Napoleon’s campaigns and adorn this city’s most iconic public spaces is reflected in the collection’s many references to Egypt,” says Rousteing of his tour de force.

There are no half measures with Rousteing and he admires designers who work with similar conviction. “In my eight years as creative director, we’ve seen so many strong trends. I’m a huge fan of Demna Gvasalia, Hedi Slimane, Phoebe Philo and Raf Simons – they have visions and strong points of view. When I saw the hyper-real street wear of Vetements, I was happy because it is refreshing, but it doesn’t mean I have to do that. In fact, the opposite – you have to become more you. One might like or dislike Balmain but it keeps a fan and customer base, and you have to challenge and be relevant every season,” says the 33-year-old.

Black and white portrait of Balmain designer Olivier Rousteing

Olivier Rousteing, photographed in Paris in 2017 by Pascal Dangin

“I love what is figurative and what people can see. I use a lot of patterns and craftsmanship because I love the first IMPACT! But just because a piece is shiny does not mean there’s no depth. It’s so easy to say ‘bling’ but that means nothing. A piece can be shiny and be created with so many innovative artisan techniques – it is more than surface. The Tour Eiffel is impressive with or without lights; I hope, night or day – these clothes can stand up,” says the designer who joined Balmain and became its studio manager under his predecessor, Christophe Decarnin, in 2011. Previously, he had worked as Peter Dundas’s right hand at Roberto Cavalli, excelling in that brand’s neo-bohemian glamour.

Read more: In conversation with artist Victoria Fu

Balmain is majority owned by the Qatari investment fund Mayhoola, which is also behind Valentino, Pal Zileri and Anya Hindmarch. The luxury investment business that is supported by the emir of Qatar paid around $560 million for Balmain in 2016. The operations of the royal family-owned luxury investment business is secretive, with turnover figures for the brand undisclosed. To date, 80% of the turnover of Balmain has been at wholesale with collections for men, women and children being sold into multi-label boutiques and department stores around the globe. Success at wholesale equates to customer loyalty, which is impressive in this era of promiscuous label shopping. This year, under the new CEO Massimo Piombini, there is a major expansion into brick-and-mortar stores, with flagships opening in Miami, Moscow, Paris, Rome and Las Vegas. “Piombini is daring and is not afraid, and I love to push the limits of design. This is the base of making a great business in fashion. With Mayhoola, we want to make the business BIG and push it to the next level,” says Rousteing. Currently, Balmain employs 350 staff with 25 in the design studio.

This year has also seen new developments with the launch of a demi-couture collection entitled ‘44 François Premier’ (it carries the address of founder Pierre Balmain’s original atelier); a twice-yearly women’s wear capsule called Episode, which is showcased during the menswear shows; and a big boost to shoes and handbags. The line ‘Beauty’, following a capsule line with L’Oréal, is in the works. In total, Rousteing designs 14 collections a year.

A look from the Balmain SS19 collection on catwalk

Balmain SS19 ready-to-wear collection

The shift into demi-couture is significant in its appeal to a growing number of younger couture clientèle. Where a typical heavily embellished cocktail dress might cost £2,500–4,000 in ready-to-wear, a gown in ‘44 François Premier’ is £20,000 and up. “The line is not about trend or future forecasting; it’s about beauty for beauty’s sake, with iconic pieces; we have a huge market for that with so many celebrities embracing the brand,” says Rousteing, whose designs were inspired by his delving into the archives and by the golden years of Pierre Balmain, who dressed Hollywood, socialites and royalty in his exuberant designs in the mid-century. For Rousteing, the jewel-coloured ‘Dynasty’-style gowns, with their gigantic ruffles and furls and sinuous Grecian drapes as well as hand-crafted embellishments by Maison Legeron (a long-established maker of fabric flowers) proved a timely recalibration of the couture dream. The line quickly picked up red-carpet strikes with Lupita Nyong’o and Penélope Cruz parading looks at summer premieres.

Rousteing’s latest show was streamed live to the few lucky owners of Oculus VR headsets. While virtual reality has been used by brands including Chanel (in exhibitions) and Dior (in VIP presentations), the VR stream flagged up the digital savvy of Rousteing who embraced the peer-to-peer power of social media and Instagram (where he has five million followers) early on, much to the snobbish dismay of the old luxury elite. “We always have to remain two steps ahead,” says Rousteing, thumbing the shiny gold Balmain buttons on the shoulder line of his cashmere Breton sweater as he sits behind a vast desk of brown marble and bronze.

Luxury clothes shop interiors

Balmain’s new store in Miami

The contemporary take on the Parisian dream is epitomised in the micro-detail of the scintillating embellishments, as much as it is in the flagship interiors. The stores offer a new version of the traditional hôtel particulier with white stucco interiors, gilded mirrors and parquet floors that you could skateboard across, with the associated uptight, cloistering atmosphere banished. Likewise, the virtual universe is vibey with campaigns directed as pop videos. Cue the sonic autumn campaign video entitled ‘The Balmain Beat’ (their ad campaign using a series of films) directed by Jake Nava who has worked with Beyoncé and Britney Spears. It features a group of disparate performers including Milla Jovovich and Daphne Guinness in diverse locations in Paris, from empty office blocks to an 18th-century folly, drawn together by a spontaneously evolving tune played out on found instruments. It shows off the brand’s hero bag – a classy BBox bag with a medallion clasp – and clothes that vibrate with neon colour and metallic sheen.

Watch ‘The Balmain Beat’ Fall/Winter 2018:

What are his views on social media? “It’s a fantastic communication channel yet we have to be careful. Five years ago what I loved was the transparency and authenticity of social media – it was spontaneous and honest. Right now, it’s too commercial and you lose the magic of honesty and credibility. The millennials are not going to like it, as they don’t want to feel trapped,” he says.

In the Balmain world, real or virtual, music is a constant. Prince’s ‘When Doves Cry’ was the opening track to the spring/summer 2019 show. “We are witnesses of our time. I’m very passionate about inclusivity; I’m mixed race myself, and I look for diversity in everything I do. And listening is a key to that inclusivity. There’s a rhythm of life happening all around us. You won’t be scared of what happens tomorrow, if you take the time to listen,” says Rousteing.

Rousteing’s ‘lair’ is a spacious glass-walled office on the top of a six-floor HQ in a narrow street in the 8e. The brown marble and bronze desk, stacked with piles of books, devices and leafy plants, is his own design. While he is working, at the gym, or sketching, loud music is his constant companion. His catholic taste includes David Bowie, Rihanna, Ed Sheeran, 80s electro pop, rock and roll, and RnB. His spring/summer 2019 menswear was devoted to Michael Jackson, with its sequin jackets, rolled-cuff denim and white sock/patent shoe combos.

Read more: Italian brand Damiani’s Kazakh-inspired jewellery collection

Rousteing is one of the few black designers currently at the helm of a major brand. Recently, Virgil Abloh was appointed head of menswear at Louis Vuitton, but the numbers are tiny. Independent talents, who have the black experience at the heart of their work, include Duro Olowu and Grace Wales Bonner in London; Stella Luna in Milan; and in New York, Telfar, Pyer Moss and Shayne Oliver.

He has brought pop into fashion and fashion into pop and, by virtue of that ambitious confluence, has opened up a once tired old fashion house to the world. Balmain resonates with a vast audience that exists in and beyond the relatively limited fashion devotee circle. His collections are anthems built on a masterful spectacle and pageantry. He works closely with Rihanna, who first visited his studio in 2013, and he has created hundreds of looks, running the gamut from Egyptian goddess to American high-school denim and sweats, for Beyoncé and her crew for Coachella 2018. A limited-edition line was released shortly afterwards.

Model on a Balmain catwalk wearing couture dress

Balmain SS19 ready-to-wear collection

“Sometimes people love the tortured element of fashion – depressed, dark and wounded – and there is a depth and struggle in my clothes, but I am pudique (modest). I don’t like being in your face with the torment of creating my clothes,” says the designer who wears no sign of angst on his dewy, unlined complexion. Rousteing has a naturally mellifluous voice and a gentle, warm smile that mellow his fierce rhetoric.

While Rousteing might be a champion of diversity, global messaging and universality, he also remains particularly and brilliantly French. He upholds the values of Parisian glamour that he first fell in love with when a young boy of mixed race raised by adoptive parents in Bordeaux, gazing at images of Iman, Betty Catroux and Catherine Deneuve with their just undone coiffures and smouldering sexuality. He faced adversity (although he does not go into details) but one can assume that a bourgeois city in south-western France might not have been as liberal as it appears now.

Read more: The Bahamas’ new 1,000 acre luxury resort

“I’m obsessed with being French. I am not conservative but I love to push traditions to the next level,” says the designer who joined Balmain at the young age of 24 and brought about radical change making the brand diverse, inclusive, ‘empowered’. Those values, championed by the greats in the 1960s and 70s – Pierre Balmain and Yves Saint Laurent included – had fallen by the wayside in the following century. Now, a more humanistic approach is considered a vital ingredient of contemporary fashion. Frenchness to Rousteing is about creativity, breaking boundaries and yes, freedom, liberté, egalité and fraternité. His own ‘nest’ is in a light-filled Haussmann-heritage building in the 11e that is a contrast of bold minimalism and flamboyant baroque style. His pride and joy is a vast sculpture of a bronze eagle that boasts dazzling amethyst rock. Thinking about the price of Balmain demi-couture, I ask the designer what he would do with 40,000 euros. His answer is a big slab of brown marble to create a piece of furniture from, to go alongside the gym. “I love the way light dances off marble,” he says.

“Being too popular? I’ve never understood that language. Democratising is not something that’s not luxurious. People talk about chic, about style, about proportions, about the front row, but who is defining these words today and what do they mean? If you take a dictionary 20 years or 100 years from now, you will have new words and new meanings and it’s time for fashion to take on a new meaning.”

Discover the Balmain collections: balmain.com

This article was first published in the Winter 19 Issue

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Reading time: 11 min
Philip Colbert lobster art installation
Contemporary artist Philip Colbert pictured standing on a ladder in front of one of his oil painting collages

Artist Philip Colbert in his studio

London-based contemporary artist Philip Colbert works within the self-defined movement of ‘Neo Pop Surrealism’. His distinctive, wildly vibrant aesthetic speaks of a hyperactive age swollen with imagery, media and symbols. His oil paintings are chaotic, visual overloads, creating imaginary surrealist dreams of swirling Colgate toothpaste roads, falling currency signs and laugh-crying face emojis.

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The exhibition “Hunt Paintings” presented by Unit London at the Saatchi Gallery pop-up in Los Angeles, coinciding with this month’s Frieze art fair, brings together a diverse range of artworks, including large-scale paintings, sculptures, and a virtual reality experience which transports viewers into ‘Lobster Land’. The title makes reference to the old master hunt scenes, depicted in works by artists such as Reubens. Reflecting on the violence of these scenes, Colbert’s collages teeter on the edge of nightmare, reflecting on the darker side of pop culture that lies beneath the sheen, slogans and humour.

‘The Year of the Lobster’, a collaborative work with art auctioneer Simon de Pury, is the most striking satire and an exhibition highlight. The surreal video is an art auction come pop song come music video, ridiculing the art world, consumerist society, advertising and modern day paranoias as de Pury calls out brand names and slogans, continually asking the viewer: “You do like that lobster, don’t you?”

Art sculpture by contemporary artist Philip Colbert

Philip Colbert lobster art installation

Installation shot of ‘Hunt Paintings’ by Philip Colbert at Saatchi Gallery, Los Angeles

“Philip Colbert – Hunt Paintings” runs until 11 March 2019 at the Saatchi Gallery pop-up, 8070 Beverly Blvd, Los Angeles. For more information visit: theunitldn.com/whats-on

Check out the next issue of LUX magazine, on sale from May 1 for a fabulous collaboration with Philip and Charlotte Colbert.

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Reading time: 1 min
Modelling campaign featuring a mature model wearing chic office wear

graphic banner in red, white and blue reading Charlie Newman's model of the month

Portrait of legendary swedish model anna k

Swedish model and life coach Anna K. for matchesfashion.com. Instagram: @annaklevhag

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

colour headshot of blond girl laughing with hand against face wearing multiple rings

Charlie Newman

THIS MONTH: Anna Klevhag, or Anna K. as she is known professionally, was a regular on the catwalks of the late 1990s alongside the likes of Kate Moss, Naomi Campbell and Linda Evangelista. After taking a break from fashion to focus on self-love and train as life coach, she has recently returned to the industry. Here she recalls her early career, struggling with self-belief and explains how coaching can help bring you back to your essential core.

Charlie Newman: Firstly can you tell us a bit about your upbringing and how modelling first came into your life?
Anna K: My upbringing was lovely in a small university town in Sweden as well as long warm summers on an island in the country. My father was a Chemistry professor at the university and was really keen on education, so I did engineering up to IB. I gained a place to study Architecture at university. But in those summer holidays, I won a competition to go to Paris and work as a model. A friend of mine and I were searching for jobs and we saw this job advertising that if you “were over 175cm” you should apply to this agency. My friend jumped straight on that and applied for me. Off I went and they took me on. I originally thought it was to be a booker, at 17 you are a bit dizzy! For the competition we had to parade around in swimsuits in some local hotel and all I remember is hearing my name being called and everyone congratulating me saying that I had won. After that I went to Paris for a week and then never really came back home again. First, I did catalogues and advertising, I was not athletic in body type, which was the thing of the 80s. It was when the ‘Grunge’ trend came that I did well. The look was more about personality and being flat chested and slender, that I could relate to. That’s what got things started.

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Charlie Newman: Was it difficult for you to take the leap and pursue modelling over studying?
Anna K: To be honest, I didn’t really think about it but now, having two young girls of my own who are around that age, I guess I wouldn’t have wanted them doing what I did. Education is beautiful, in any shape or form. To learn and know things enriches life like nothing else, it makes life more interesting and broad. I can’t stress how important it is to develop and grow, to learn, to have a purpose. I had such a strong interest in drawing and maths, I would have enjoyed being an architect but I rebelled. Still, it is never to late to start, I know that now, and being a life coach, I’m learning every day.

Charlie Newman: What was the reaction from family and friends when you started modelling?
Anna K: I don’t know how but my friends sort of always knew, much more than I did, that I wouldn’t really come back. My father didn’t say much, there was no outrage or anything deeply positive either, I was sort of left to get on with it from his perspective. I think everyone would have preferred it I went to university though.

Model lies along a roof wearing a short blue dress and heels

Anna K. as a young model in British Vogue. Instagram: @annaklevhag

Charlie Newman: Your career catapulted so quickly, but do you remember one moment that changed your life?
Anna K: There was a moment. I did a make up trial with Linda Cantello for Jil Sander in Paris. They ended up picking me for the showroom in Milano. At the end of that, I remember the Art Director Mark Ascoli musing aloud as to whether they should put me in the big show and Linda said “Of course!” I remember the feeling, walking down that catwalk. It was with Linda, Naomi, Claudia, Kate, Amber, Shalome, the old supers and the new generation. It was like I was floating in air. That was my moment. I was in the right place at the right time. It all took off from there. After that, I worked with all those amazing photographers in the 90s and went to New York – it was such a magical time!

Charlie Newman: Having established your career in Europe, how did you feel moving to New York and setting up a life there?
Anna K: Well it never really felt like I moved there, it was just an organic part of life. I had a permanent suite at the Gramercy Park hotel back when it was this enchanting place, oozing of New York. Funny old ladies, with big hair, drinking Cosmopolitans, smoking and eating Gold fish snacks around tables in the bar. It hadn’t been done up yet and I could be anonymous there, it felt personal and real, my friend Kirsten Owen lived there too. We did it our way, it was a special time for sure. Work wise, it was a more pressured environment than Paris. More about business, agencies trying to have you change to theirs, career talk etc etc. But I loved working for Calvin Klein and Donna Karen, J Crew and all those lovely department stores regularly, for days and weeks. It felt more like a proper job and gosh did we have fun!

Model poses in tweed coat standing on pile of boxes

Instagram: @annaklevhag

Charlie Newman: Tell us more about your journey into becoming a Life Coach.
Anna K: I got divorced at 40 and never really saw it coming. I’d been madly in love with my husband for 20 years – we met when I was 22 in Milan. We really grew up together, he was my soulmate. We had two children together and lived in Notting Hill. Life was pretty perfect except for inside of me. I went on this huge journey to discover my blocks, my strengths, my joy, to get to know me. I dealt with a lot of childhood stuff I didn’t even know I had, patterns and beliefs that hindered me as well as daring myself to tap into my inner strength and power. I wish I had followed my instincts and gone to see someone at 25, when I wanted to, but I’m so grateful I have got to where I am now. To have what I have now, inside.

I really had it all but still struggled with self-belief. It was others that had to believe in me. I had the most wonderful booker, Sam Archer, who was full of joy and lust for life. She got me feeling right when I wasn’t feeling right at all. It would take a huge effort for me to go out into what I now call the ‘arena of life’, to be vulnerable and dare to be as big as I could be. With coaching it was easy to unpick all of that, to understand myself and change what didn’t serve me. I could work out where I wanted to be and how to cope. Now, it is me driving my life for myself. The inner strength I gained, got me that step closer to my full potential, it is so powerful. Coaching clarifies, unblocks potential and puts you back in control of your life. You become your own C.E.O! And there is a lot of joy in that force.

I have become aware through my friends in powerful positions that they see Life Coaching as an imperative tool in order to navigate their jobs and lives more efficiently. I now also study Executive Coaching. If you feel good, you do well, if you think good thoughts and have a focused mind set, you become dynamic. Essentially, we are all born perfectly imperfect. We are who we are meant to be. Life’s experiences often scramble that powerful core. Coaching helps you find your way back to your core.

Read more: Exploring Earth’s last true wilderness with Geoffrey Kent

Charlie Newman: How do you apply your skills within the fashion world?
Anna K: I see my girls (models) once a week if they’re in the country, if not we Skype or rearrange, we’re flexible, you have to be in fashion! Each girl needs different things. So we work on vulnerability, self-esteem, habits, strengths, patterns, blocks whatever is lacking. It doesn’t take long to work things out. Coaching is like stepping on to a escalator. You take away what hinders you and step into your strengths. I also mentor professionally. I have spent most of my life in this business (over 30 years) and have worked on all levels. Having worked with most of the legends within fashion I know it like the back of my hand so I can help the models as I truly understand it. The industry has not changed that much fundamentally, only grown enormously.

Charlie Newman: Do you go and see a life coach for a specific reason?
Anna K: Whatever age you are and whatever stage you’re at within your life or career, we all hit patches of ‘confusion’. You simply don’t feel in charge, happy, joyful, strong, clear. Coaching clarifies everything quickly. I learned to be a coach so that I could coach myself – I am no longer confused. It doesn’t matter how wealthy or how successful you are, true joy and fulfilment cannot be without knowing, accepting and embracing yourself. Then follows growth, contribution, productivity – it is just logic really.

Charlie Newman: Do you work with a client for a particular time period?
Anna K: It can be anything from 4-6 sessions to months. Sessions are between 1 and 1.5 hours long. We set up strategies for change. Change happens in a moment. The time it takes to get to those moments of break through is personal but we usually get there quite quickly. You then condition that change finding newfound neurological paths that need reinforcing. Often girls come with a problem and it turns out that wasn’t the problem at all.

Model poses in front of pink wall wearing green pajamas

Instagram: @annaklevhag

Charlie Newman: What’s the difference between a life coach and a counsellor?
Anna K: Coaching is a result based practice. Whether its a small change or a bigger one. Coaching is much more instant and of the moment – there is an action plan. We do go into the past like you do with counselling but in coaching you use it as more as a ‘spring board’ to fuel your future. I went to quite a few therapists when I got divorced and I found myself just going over and over the same things but there was no change or no strategy in how to deal with things. I had it all but couldn’t use it, I was frustrated and I was confused. I needed to work out why but also change my ways and that’s where coaching stepped in.

Charlie Newman: Your fashion career has spanned so many years and you’ve seen it from so many different perspectives. What do you think has changed the most from when you started?
Anna K: There was no social media when I first started at the end of the 80s. There were no cell phones, I didn’t even had a credit card! You were perhaps more lonely in one way but then again Instagram or Facebook relationships can never substitute the real thing. There are benefits to social media, you can share your passion projects for example. Practically, things are much easier too. We used to spend hours in labs enlarging tear sheets to show to clients. Sometimes though, I wonder if all those time saving things actually prevent us from communicating organically, like we used to. I do wonder, if they actually do save time? It often doesn’t feel that way to me. It’s a balance I guess, I’m always finding the balance.

Charlie Newman: What kept you grounded when your career was going crazy?
Anna K: Without question it was my boyfriend at the time, who was my first husband. We shared absolutely everything, it was him and I against the world. He kept me sane.

Read more: Italian brand Damiani’s Kazakh-inspired jewellery collection

Charlie Newman: What advice do you give to younger models?
Anna K: Self-love is everything. Find out who you are, if you haven’t. Embrace it. Fulfil all your inner needs, as a whole human being, not just for work. Find out where you’re lacking and work on that. Try to focus on the good not the bad. Observe your thoughts. You are what you think. I tell my girls not to get upset if they don’t get the job because it’s actually nothing to do with them personally, it’s just a constructive business decision. Your turn will come. Just be ready for it when it does.

Charlie Newman: What made you go back into modelling?
Anna K: My dear agent Mika at Mika’s Stockholm, called to ask if I wanted to do some pictures and an interview on Sweden’s supermodels over time. I said yes and from that it snowballed. I got a MAC Cosmetics campaign, did Matches Fashion, magazines and advertising – it’s been great fun! Models 1 feels like family, they just get things, I am so lucky.

Charlie Newman: How have you found coming back into the industry after all these years?
Anna K: It has honestly felt like putting on an old pair of slippers! I have just loved it! It’s been wonderful to reconnect. I feel comfortable on set, I know that world, it is a part of who I am.

Charlie Newman: Lastly who is your role model of the month?
Anna K: It’s got to be my daughters because they’re so free, I’ve learnt so much from them. They are so healthy, they blow my mind.

Follow Anna K. on Instagram: instagram.com/annaklevhag

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Reading time: 12 min
Private tropical beach with sun loungers and palm trees
Private tropical beach with sun loungers and palm trees

The beach at the Rosewood Baha Mar

Baha Mar is the latest and most prestigious resort to open in the Bahamas. With three leading hotel brands and all the residential lifestyle amenities you could wish for, you may be tempted to move there permanently, says Jenny Southan

Said to have the clearest sea water in the world, the 700-island archipelago of the Bahamas has long been a glittery bolthole for holidaymakers and expats looking for a luxurious paradise to make their home, even if only temporarily. Part of its allure can be put down to its association with James Bond, whose escapades often took him to these parts. Scenes in Casino Royale, for example, were shot on New Providence Island, where the capital Nassau is located, and where non-stop BA flights from London touchdown along with services from the US.

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Life in the Bahamas (just 55 miles east of Florida and one of the oldest members of the British Commonwealth) is rich with ways to spend your time, be it strolling along the pink sands of Harbour Island, watching flamingos at West Side National Park on Andros, or viewing Long Island’s blue hole, one of the deepest on Earth. Activities range from diving and sailing to bone-fishing and swimming with pigs on Big Major Cay. With a year-round outdoor swimming climate, the islands are perfect for whiling away the endless days of summer, winter and everything in between.

The desirability of New Providence as a destination has been enhanced by a new resort, Baha Mar, on Cable Beach. Costing US$4.2 billion, it made its debut in 2017 with the opening of the Baha Mar Casino (the largest in the Caribbean, with 119 gaming tables, high-limit betting and private gaming rooms), the 18-hole Jack Nicklaus-designed Royal Blue Golf Course, a flagship ESPA spa with 24 treatment rooms, and the Racquet Club Baha Mar. Also there are the Baha Mar Convention, Arts & Entertainment Centre and the Grand Hyatt Baha Mar hotel, and beyond the show lakes and fountains, you will discover 30 designer boutiques, with brands such as Rolex, Bulgari, Hublot and Chopard.

Exterior of luxury beach-front hotel with pink facade

The exterior of the SLS Baha Mar hotel

With direct access to a kilometre-long white sandy beach, the 299-room SLS Baha Mar opened soon after in November 2017, while spring 2018 saw the unveiling of the 237-room Rosewood. There are fully serviced one- to six-bedroom oceanfront residences and villas from $705,000 at the SLS and from just below $1m at Rosewood. For UK citizens looking to buy property, Baha Mar provides enticing new options in this long-standing tax haven, with no income tax charged to residents no matter where in the world they earn their money. Once you own a house or apartment valued at more than $750,000, you are eligible to apply for permanent residency, and for anyone investing in excess of $1.5m, their application may be expedited.

Interiors of a contemporary bar with sofa seating and indoor plants

The Monkey Bar at SLS

The jet-set lifestyle of Baha Mar is easily enjoyed. The SLS Baha Mar, which is operated by US hospitality group sbe, has become a popular hotspot for entertaining. In addition to Mediterranean restaurant Cleo and trendy Monkey Bar, there is Privilege for upscale pool parties, rooftop lounge Skybar (the only one in Nassau), modern Japanese restaurant Katsuya, Fi’lia by the James Beard award-winning chef Michael Schwartz, and nightclub Bond, conceived by rock singer Lenny Kravitz’s Kravitz Design. Carna for steaks is coming soon.

Read more: Ultra-luxury development One Monte-Carlo opens in Monaco

The new Rosewood, meanwhile, has farm-to-table London-style brasserie Commonwealth and its exclusive Rum Room; and Costa, which features pavilions surrounded by water and a menu of seafood and meat dishes with a Latin American twist. In addition is The Library where a Bahamian-style afternoon tea is served. The heavenly Manor Bar features design inspired by a yacht interior – all dark polished woods and blue velvets.

Luxury hotel lobby with contemporary furnishings

The Living Room at Rosewood Baha Mar

The design of the property itself is reminiscent of a Bahamian island estate home, with white weatherboarding, tropical gardens and verandas. And to ensure the stresses of work are smoothed away, Sense, a Rosewood spa, has created treatments based on ancient Bahamian rituals using local plants such as lignum vitae, moringa leaf, cassava and neem tree.

For those interested in a base on the island, Rosewood has one- to three-bedroom residences (from $995,000) with private concierge and butler services, plus four-to six-bedroom beachfront villas with their own pool (from $6.4m to $25m). Buyers at Rosewood and SLS are eligible to apply for permanent residence status. Dependent on nationality, buyers may be entitled to tax benefits including capital gains and income tax exemptions.

Owners of the residences at SLS and Rosewood enjoy access to the members-only Nexus Club (with its champagne bar, pool with day beds, private gaming and cigar bar) plus the 65m (213ft) super yacht Eternity, on which they can cruise the archipelago or visit Baha Mar’s own 15-acre private island, Long Cay. Staffed by Rosewood and available for private hire, this is where sybarites can relax in a hammock on the beach with a glass of rum. Life doesn’t get any better than this.

Find out more: bahamar.com/residences/

This article was first published in the Winter 19 Issue.

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Explorer walking past base camp on a snowy landscape
Explorer walking past base camp on a snowy landscape

An explorer sets out on Day 6 of the recent A&K South Pole expedition. Image courtesy of Abercrombie & Kent

At the age of 76, LUX contributor and founder of luxury travel company Abercrombie & Kent Geoffrey Kent is still adventuring. Here he recalls one of his most recent and challenging expeditions into the South Pole

For the last three years, I have been occupied with a desire to go on a journey to Antarctica. Like my hero of heroes, Sir Ernest Shackleton, I dreamed of getting to the South Pole. Unlike Shackleton, who led three British expeditions to the Antarctic, I wanted to do it in comfort and five-star style.

Adventure is in my genes, and since my parents and I founded A&K in 1962, I’ve packed a lot in. I’ve climbed Kilimanjaro, hiked to Tiger’s Nest in Bhutan, and circled the earth along the equator. I’ve journeyed from the source of the Upper Amazon to where it meets the Atlantic Ocean and been to Iraq with some special forces’ guys. I have been to the edge of space in an English Electric Lightning, travelling Mach 2.2 at 21 kilometres up, and hiked to Base Camp Everest. I was officially the last person in the twentieth century to stand on the North Pole.

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My recent expedition to the South Pole is my latest and perhaps most challenging adventure. Like all dedicated travellers, my wanderlust constantly drives me. I’m obsessed with the app Been, which reveals that I have visited 70 per cent of the world’s countries (I travel approximately 270 days each year). In the next few years, I want it to be 100 per cent. The desire to see the whole world is the driving force behind Inspiring Expeditions by Geoffrey Kent.

In December 2018, seven intrepid guests and I spent the latter part of December in the vast wilderness that is Antarctica. Another continent ticked off – a personal dream fulfilled.

Private plane landed on the snow

Day 12: arriving by private jet into Whichaway Camp. Image courtesy of Abercrombie & Kent

When most people speak of having been to Antarctica, they have travelled by cruise ship from Ushuaia to the Antarctic Peninsula, a 1,300-kilometre chain of mountains and volcanoes that juts north towards South America. My expedition was to a dramatically different destination. The Antarctica that I’m talking about can’t be accessed by cruise ship. To get to the South Pole, you need a plane and skis or snowmobiles. Antarctica is vast – mind-bogglingly big. To put it in perspective, from our base inside the Antarctic Circle to get to the South Pole required an eight-hour flight, a re-fuelling stop and the crossing of a time-zone.

Our group – consisting of one couple and their two sons, a father and son, and me – set off from sunny Cape Town in mid-December. We landed on the first of three ice runways (or more aptly iceways) that A&K constructed in Antarctica for this journey and got our first glimpse of the land of snow and ice at a place dramatically named ‘Wolf’s Fang’.

Explorers climbing up an ice wall with picks and helmets

Day 8: ice climbing. Image courtesy of Abercrombie & Kent

There are no wolves for thousands of kilometres, just the occasional snow petrel flying overhead. Antarctica is a high desolate white desert where temperatures in summer rarely get above minus 20 degrees Celsius and the winter average is minus 60. It never rains here and the snow that falls is sparse. With less than 20cm of snowfall a year, Antarctica is technically a desert. It is so dry that with the correct kit on, you feel colder on London’s streets on a particularly grim day.

Read more: Italian brand Damiani’s Kazakh-inspired jewellery collection

It’s the last true wilderness on our planet. The last frontier – the final place on the planet where a traveller can feel genuinely remote and know that your footprints may be the first, that no other human may have walked here before. And if they have… what a club to be part of.

From our basecamp in an oasis – a series of rocky outcrops amongst the ice – over the course of eight days, our group flew to Atka Bay to view the large colony of Emperor penguins. There, we also learned essential winter skills, explored ice caves, visited both Russian and American research stations, summitted (and earned the right to name) a peak in the Drygalski mountain range, and ventured to the Geographic South Pole.

a colony of emperor penguin chicks in the south pole

Day 4: visiting the Emperor penguins. Image courtesy of Abercrombie & Kent

From the top of ‘Mount Inspiring’ – the virgin mountain which our group summited in the company of Marko Prezelj, four-time Piolet d’Or winner – staring over this vast expanse of white in awe of nature at its most elemental, it’s hard to imagine the flux that this continent is undergoing. Sadly, Antarctica has experienced an air temperature increase of three degrees Celsius. This rise in temperature is causing change – perennial snow and ice cover are melting, glaciers are retreating, and some ice shelves have collapsed completely. In the last 60 years, there has been a loss of 25,000 square kilometres of ice shelf. The flora and fauna are facing a threat too. Emperor penguin numbers have declined by up to half in some places and the number of breeding pairs may fall by 80 per cent by 2100.

Read more: The poetic beauty of the Swiss Engadine

One of the greatest, yet least seen, wildlife spectacles on the planet, the colony of 6,000 breeding pairs at Atka Bay is extraordinary. Two and a half hours by airplane away from basecamp, thousands of adolescents were finding their feet and snow bathing to cool off in strong sun, while their parents fished. These animals are under threat from human action from thousands of kilometres away.

We reached the Pole two days and one hundred and seven years after Roald Amundsen, a Norwegian explorer who won the race to the South Pole, just ahead of Scott. Standing at the designated marker at the lowest point on earth, you are able to walk around the world in a few steps. Surrounding the marker are flags from the twelve signatories of the Antarctic Treaty that sets aside the continent as a scientific preserve. It was a good place to reflect on the adventure of getting here and wondering about what’s going to become of this white desert… and what we all can do about it.

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

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Luxury apartment interiors decorated in neutral colours with wooden floors
Render of a luxury apartment in Monaco

The apartments boast spectacular views over the square and the ocean

LUX travelled to Monaco for the opening of One Monte-Carlo, the swankiest residential and retail development, in the most expensive location in Europe.

Clear blue skies, champagne poured out of magnums at breakfast time, real fur aplenty, and new flagship stores for the likes of Louis Vuitton and Céline. It can only be Monte-Carlo, and to be precise, it can only be the opening of One Monte-Carlo, a staggeringly opulent new development in the very heart of the principality, incorporating 37 apartments and dozens of fashion and luxury stores in what a property developer would call an ultra prime location.

The Monaco royal family officially open the luxury development One Monte Carlo

Prince Albert II,Princesse Charlene, Prince Hereditaire Jacques and Princesse Gabriella at the inauguration of One Monte Carlo

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You may know Casino Square from its starring role in the Monaco Formula One Grand Prix and various movies, or because you park your Ferrari F 512M there when you visit the casino; now in a field of architecture engineering, it also boasts this rather beautiful development, next to the Hotel de Paris, designed by (Lord) Richard Rogers in an organic and eco-friendly style, anchored almost physically by the new Vuitton flagship.

CGI image of luxury residential development in Monaco

Luxury apartment interiors decorated in neutral colours with wooden floors

With architecture by Richard Rogers and interior design by Bruno Moinard, One Monte Carlo houses 37 luxury apartments and dozens of retail stores

The apartments themselves are designed by the estimable Bruno Moinard, who works closely with both LVMH Chairman Bernard Arnault and Kering founder Francois Pinault, personally. Interestingly, the apartments are only available for long-term rental not purchase. More than half have already been rented for the next 12 months, with some lucky residents paying more than €2 million a year. For les happy few, there is no better location in Monaco, or possibly Europe.

Darius Sanai

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Campaign for Alsara by Damiani jewellery collection inspired by Kazakh traditions
Jewellery campaign for brand Damiani starring Aliya Nazarbaieva

An image from the first Alsara by Damiani campaign with Aliya Nazarbayeva wearing earrings and ring with turquoise and black-and-white diamonds

How does a historic Italian jewellery brand come to dedicate an entire collection to the traditions and culture of Kazakhstan? Through a little bit of serendipity, and some inspiration from one of the world’s ancient nomadic cultures, as LUX Editor-at-Large Gauhar Kapparova discovers
 Guido, Silvia and Giorgio Damiani of Italian jewellery brand Damiani

Guido, Silvia and Giorgio Damiani

Italian fine jewellery brand Damiani first opened stores in Almaty and Astana in 2005, following the brand’s strategy for global expansion under the leadership of third-generation Damiani family members, Guido, Giorgio and Silvia. The brand’s sensuous Italian style and commitment to hand-crafted detail quickly captured the attention of Kazakh women, whilst the Damiani siblings, who travel frequently to the country on business, became increasingly fascinated and enamoured by the culture and traditions there. A deep and mutual affection grew organically between brand and country, leading to the idea of a cross-cultural collaboration.

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To create Alsara, a collection inspired by and dedicated to Kazakhstan, the President’s youngest daughter Aliya Nazarbayeva teamed up in 2011 with Zhanna Kan, the owner of Damiani Kazakhstan and the driving force behind the new line. The name Alsara is a portmanteau combining Aliya and her mother’s name Sara, and pays tribute to the influence of not just them but also all the Kazakh women the jewellers have met.

Traditional Kazakh style necklace by brand Damiani

Unique necklace ‘Tumar’ with blue sapphires, rubies, diamonds and semi-precious stones

The collection began as a conversation between Aliya and Damiani’s Italy-based designers, during which Aliya educated the brand on ancient Kazakh ornament, such as the traditional tumar necklace and bilezik cuff. These styles were reimagined and transformed by expert craftsmen in Damiani’s historic ateliers in Valenza, where Enrico Grassi Damiani opened his first goldsmith’s laboratory in 1924. The result was a collection of intricate gold and precious stone pieces, marrying refined Italian craftsmanship with Kazakh heritage. Following a sold-out range, the collection broadened to include silver and semi-precious stones, such as onyx and turquoise, typical of Kazakh jewellery.

Read more: Meet the new creative entrepreneurs

Bridging two distinct cultures, the Alsara collection melds tradition with contemporary fashion. “Alsara pieces became not only stylish accessories for modern Kazakh women but also perfect gifts for weddings and kudalyk, which are the engagement ceremonies,” comments Zhanna Kan. “They are regarded as family jewels to be preserved and handed down.”

Campaign for Alsara by Damiani jewellery collection inspired by Kazakh traditions

The Alsara by Damiani campaign with Gulnara Chaizhunussova wearing silver earrings and a bracelet and ring with green agate, citrine and diamonds

Alsara’s most recent designs reveal a striking modern look for the collection, reflecting the evolving cosmopolitan culture of Kazakhstan. Colourful gemstones have been replaced with black and white diamonds, producing a pared-back aesthetic with hints of Art Deco and oriental motives. The Kazakh heritage has not been lost, however, and neither has the craft; the collection continues to be entirely handmade in Italy whilst the influence of traditional Kazakh jewellery remains in the threads of delicately curved silver, drawing on artisanal methods of filigree.

Discover the collections: damiani.com

This article was first published in the Winter 19 Issue.

Luxury fine jewellery earrings by brand Damiani

Earrings with wings motif in white and yellow gold with smoky quartz, garnet and icy diamonds

 

 

Ornate necklace by Italian brand Damiani

Jewellery from Damiani’s Alsara collection, including necklace in white and yellow gold with black and white diamonds and pearls, inspired by Art Deco and Kazakh ornament

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the rolling mountains of the swiss engadine in summertime
the rolling mountains of the swiss engadine in summertime

A view across the Engadine valley from Muottas Muragl, above St Mortiz

Switzerland’s Engadine region has been the enchanted holiday home of the likes of Friedrich Nietzsche, Gerhard Richter and some of the world’s most discerning wealthy. LUX takes a summertime tour of this romantic paradise

Landscape photography: Isabella Sheherazade Sanai (@sheherazade_photography)

There was a moment in the evening, a point in the flow of time each day, when the colour on the mountain was perfectly balanced. Just below my balcony, the larch forest rising out of the lawn was an almost vanishing green, turning to black. The same forest was a dark emerald high up the mountainside. The high pastures above, a thin carpet of melded brown and dry, light, green. And the peak of the mountain, that minute, was just straining to catch the last of the day’s sun, emanating from behind the hotel, on the west side of the valley. It was the colour of a tarnished gold ring, glowing with the pride of being in daylight, today, while the rest of us had fallen into tonight.

Out of the trees and grass around me, the image was accompanied by a rising smell of damp, green, earthy life, its textures matching those in the glass of wine that would always accompany this ritual, a glass of pinot noir from two valleys away, in what the Swiss call the Bündner Herrschaft.

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The Waldhaus Sils, where my room and balcony were, is known for its magic. Artists, writers, musicians and poets are guests there, sometimes invited by the hotel for the inspiration they bring. Gerhard Richter, arguably the greatest living artist, unarguably one of the most expensive, was staying while I was there;  as were others from these worlds, whom I won’t identify as I didn’t spot them personally (the Waldhaus is very discreet about its guests).

The hotel sits on a forested ridge (thus the name Waldhaus – ‘Forest House’) above the village of Sils, once home to Friedrich Nietzsche, and overlooking Lake Sils, considered by many in the art world to be the most beautiful lake in Switzerland. The lake is at the southern end of the Engadine, a broad, flat, high-altitude valley making a slash through the most mountainous part of the country, its southeast corner, from Austria to Italy.

Sils Lake in Switzerland pictured in the summer

The Waldhaus Sils sits in a forest above the mystical Lake Sils, which has inspired poets, artists and writers since the 19th century

There is something about the Waldhaus Sils that no amount of money could create in a new hotel. The furnishings, from light fittings to tables, chairs, cabinets and even the signposts, look like they have come from a mid 20th-century Modernist sale at Phillips auction house. They are so perfectly positioned, as if everything has been looked at with aesthetic sight-lines in mind, and yet none of it feels Designed (with a capital D); this is just the aesthetic of the family who own the hotel. No wonder Richter and others love it so.

The Waldhaus mixes old, in the sense of mid-20th century, with a very up-to-date cuisine and wine list. Most guests take the half-board option, with dinners in a broad gallery of a dining room, with picture windows looking into the forest. Most memorable were the variations on a consommé, each night made with a different base stock; and the choucroute and pork fillet served by a visiting farmer-chef one evening.

Luxury hotel bar decorated in maroon colours

One of the bars at the Waldhaus Sils

One day, we walked out of the hotel down through the trees until we reached the floodplain of the lake, a flat meadow between the shore and the village. It was a summer day of intense mountain sunshine – you burn much more quickly here at altitude than down on the Mediterranean – but a flapping, chilly wind reminded us of exactly where we were. Along the lakeshore, a child and a dog were paddling in the water, on a tiny beach sprouting out of the path. The path itself curved past a tiny jetty housing a couple of rowing boats, and onto a forested promontory. Dipping and rising between larch trees and the water’s edge, it offered a different perspective every minute, with changes of light and in the colour of the water on the lake. The mountains beyond emerged bigger with every step we took away from them; my own mountain, which I had watched from the balcony, was revealed to be no more than the leading ridge of a much larger cluster of peaks at the end of what was a hidden valley.

Read more: Welcome to the age of internet art

We walked along that valley the next day. To get there, we first took a cable car from Sils up to a station above the treeline, from where we looked down at a string of lakes extended all the way down the Engadine past St Moritz, and were greeted by a pack of manic, crested chickens sprinting around a coop with a view most humans would crave. We walked along a path skirting the edge of the mountainside, past uncurious cows, until a luscious green valley, alternating meadows, streams, forest and hamlets, appeared beneath us. Invisible from the Engadine, this is Val Fex, home to some of the most ancient communities in Switzerland, who used the secret nature of the place (its entrance is sheathed in a deep, forested gorge which looks impassable from below) to shelter from invaders from Italy and the Germanic lands.

Along a woodland path at the bottom of the little valley, home to thousands of butterflies, we reached the Hotel Fex, where we had a fantastic lunch made of foraged and farmed local ingredients – young beef, herbs, grasses and flowers – while gazing at the high end of the valley. It was an hour’s walk, down past the butterflies and the meadow and through the gorge, to the Waldhaus and a balcony view back up to the sunset peak.

Idyllic forest scene with a river running through

The forested peninsula on Lake Sils, nearly 2km above sea level

St Moritz is fifteen minutes’ drive down the Engadine valley from Sils, and it has a roster of legendary palace hotels. Our destination was just outside the town of St Moritz, on a hillside. Suvretta House, one of the oldest grande dame hotels of Switzerland, surveys the surrounding scenery like a majestic ocean liner atop a wave. As we approached from Lake Silvaplana, it was almost as if nature had bent to the grand hotel, according it its centre-stage position, with nothing around it except forest and lakes, on a ledge in this long, high valley.

That was an illusion; within a couple of kilometres of Suvretta House lies one of the highest concentrations of (vacation) wealth in the world, but part of this area’s appeal is that it doesn’t look like it.

Luxury five star hotel Suvretta in Switzerland

The facade of the historic Suvretta House hotel

Our junior suite at Suvretta House had six windows opening out onto a carpet of forest below, the lakes ahead, and the peaks of the Bernina range on the east side of the valley beyond. The décor was clean and crisp, a kind of safe contemporary Swiss, with plenty of rich fabrics to please luxury’s traditionalists.

The Bernina mountains are one reason for the particularly attractive climate here; they protect the area from storms sailing up from the Adriatic beyond, while to the north and west, several ranges of high mountains stand as a kind of climatic Berlin Wall to prevent the moist Atlantic air of northern Europe arriving. The result is that this is the sunniest spot in Switzerland; and Suvretta House itself lies on a sun-trap of a ridge. We discovered this the next morning, on a pre-breakfast frolic in what must be the most picturesque children’s playground in the world, carpeted in lush grass, banked on three sides by Alpine forest and on a fourth by a slope leading down to the hotel.

Read more: The Getty LA launches an African American Art Initiative

At the front of Suvretta House, the 25-metre indoor pool stretches through a conservatory alongside a broad lawn, on which sun-loungers, a giant chess set, and other leisure accoutrements are set (in summer, anyway; in winter, it would be under several metres of snow).

Luxury indoor swimming pool surrounded by glass windows

Suvretta House’s swimming pool

High mountain restaurant in the swiss alps

The Fuorcola Surlej restaurant above St Mortiz

Breakfast was served at the Arvenstube restaurant, and featured about 36 different types of bread, cooked (and shaped) in their own in-kitchen bakery every day from three in the morning. The buffet seemed lavish enough, until we found it extended around the corner with dozens of combinations of freshly cut fruit, more permutations of gluten-free cereal than would fit on the biggest yoga mat, an array of nuts, seeds and other health-giving items that would embarrass a health food store, and still plenty of indulgences on the pancake/ chocolate/Nutella/cooked bacon front.

We returned to the Arvenstube for dinner, at first a little apprehensive. Almost every hotel in the German-speaking Alps has a restaurant called a stube; in humble hotels these are often beer-cellar-type places serving humble food (sausages, dumplings) and good beer. Luxury hotels sometimes persist in the belief (mistaken, in our views) that a luxury stube ought to be a play on these dishes, with lashings of old- fashioned Michelin-chasing creams, foams and drizzles, and tiny portions that make you wish you had gone out for some fondue instead.

What we found instead was a revelation. In the beautiful evening light as the valley turns to night – the Arvenstube faces south – there was a menu based on the concept of ‘Switzerland  meets Latin America’ from chef Isaac Briceño Obando, and it really worked. Examples: Puschlaver lamb, baby corn, roasted spring onions, tortilla powder and mountain honey; or Swiss cheese, guava jelly, tamarind jelly and paprika coulis; or tepid char with grilled peach, palm hearts and pine nuts. It was the distinctive, balanced, vivid cuisine of someone with a real ability to understand how and by whom his dishes would be consumed. We returned there three times and always had clear, crisp options.

Landscape photograph in the Swiss Engadine valleys at summer

On the path to the aptly-named Paradise hut, above Pontresina

Food image of a goats cheese salad with rocket and truffle shavings

Goat’s cheese with rocket and truffle at Chasselas

The Suvretta House also owns the Gault Milau-celebrated restaurant just up the road, the Chasselas. At the bottom of a piste, with its own chairlift linking it to the main Corviglia ski area of St Moritz, the Chasselas tries hard to look like a pristine, immaculate but humble mountain hut; however, the cuisine and wine list are anything but humble. We loved the medium-grilled saddle and braised cheeks of Iberico pork with artichokes, balsamic onions and plain in pigna, and Irish highland lamb racks with salsa verde, grilled vegetables and barley risotto. Different chef, but the Suvretta principles remained: there was nothing on the menu to weigh you down and make you feel, like many mountain restaurants do, that you need to climb the nearest peak to burn everything off.

It’s tempting never to leave Suvretta House (either during your stay, or when it’s time to depart) but we did, one day taking a cable car up the opposite side of the valley, towards Piz Corvatsch, and walking along a rocky, dramatic, high altitude trail until we reached a restaurant in a little mountain hut on a ridge. The other side of the ridge revealed a little lake, and a flabbergasting view down to a glacier and up to a range of high, snowy, rocky peaks. Fuorcula Surlej, the restaurant, really is a humble mountain hut. The owner told us she lives there, with only her dog for company, all summer and all winter; when she returns after her autumn break to open up for the ski season, all the available water is frozen in blocks of ice and she curls up with her dog to keep warm.

A small staff in her kitchen were making dishes off a short menu; we tried the barley soup, which tasted of fields and mountains together as we ate it on the terrace, looking out at the high peaks framed by dreamy deep blue; followed by a spaghetti with ragu, flavoursome home-made food by someone whose home is a ridge at the top of nowhere, towering above the Engadine.

Darius Sanai

For more information and to book your stay visit: waldhaus-sils.ch; suvrettahouse.ch

This article was first published in the Winter 19 issue.

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Installation shot of a gallery exhibition showing digital videos
Installation shot of a gallery exhibition showing digital videos

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

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

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

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

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

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

Watch Dream Journal by Jon Rafman:

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

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

Installation artwork by artist Sondra Perry

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

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

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

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

Digital artwork of computer images showing cats

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

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

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

Abstract painting of a man by Celia Hempton

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

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

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

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

‘Juliana’ (2014–15) by Frank Benson

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

Read more: In conversation with artist Victoria Fu

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

Digital artwork by artist Cao Fei

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

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

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

This article was first published in the Winter 2019 issue.

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Tom Pope performance artist pictured floating in mid air
Performance artist Tom pope pictured floating in the air above a rural landscape

London-based performance artist Tom Pope & founder of the ‘One Square Club’

What do you get when you squeeze all the opulence and exclusivity of a private members’ club into a box about the size and shape of a telephone booth? You get One Square Club, the gleeful brainchild of London-based performance artist and self-described flâneur Tom Pope, and he’s taking it to LA.

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

When, a few years ago, Tom Pope discovered that one square meter of residential real estate in London’s upmarket Kensington & Chelsea cost £11,365 (approximately $15,000) it sparked a brilliant idea. “I thought, this is nuts,” he recalls. “How do they get that value? What is it based on? I had to do something.” The result is One Square Club. Membership lasts no more than a day and the fee is based on the average value of one square metre of property wherever the club is. “It’s interesting how the property and art markets attach certain values, and how these values fluctuate,” he says. “As such, the value of the club’s membership goes up and down depending on where it goes.”

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Members are treated to an intimate one-on-one with Pope himself. The interior is kitted out with a bar, luxurious wallpaper, cozy lighting and a miniature art display. Pope will make you a drink and listen to your woes. Or sing karaoke with you. Or talk philosophy. In fact, anything you like, even sitting in comfortable silence. Now, with the help of Deutsche Bank Wealth Management, he is bringing One Square Club to Frieze LA. It will sit inside a fake shop window on a Paramount Studios film set, and visitors can enjoy about five minutes’ membership. “There’s a lot of interesting mirroring going on here with the concept of film stars and celebrities and the idea of celebrity itself as an exclusive club,” says Pope. “I think it fits in here perfectly.”

To read a full interview with Tom Pope visit: deutschewealth.com

This article was first published in the Winter 2019 issue.

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Digital art installation of multiple screens by Victoria Fu
Digital art piece by California based artist Victoria Fu

‘Double Curtain 1’ (2017). Victoria Fu.

California-based artist Victoria Fu, the official artist of 2019’s Deutsche Bank Wealth Management Lounge at Frieze Los Angeles, is at the forefront of exploring the realm between the digital and the analog, as she explains to Anna Wallace-Thompson

DEUTSCHE BANK WEALTH MANAGEMENT x LUX

Portrait of digital installation artist Victoria Fu

Victoria Fu

Hazy circles of red, blue and aqua overlap, a Venn diagram of mingling new colors emerging from textured surfaces. Elsewhere, scratches like the snags on celluloid skip across the faded screen of a computer desktop. They exist amongst a procession of lights and shadows, but – like the most famous shadows of all, on Plato’s cave wall – which are real, and which are not?

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It’s a good question, and one that Californian artist Victoria Fu finds immensely intriguing. In an ever more digitized world, Fu is interested in the space between the real and the virtual, the analog and the digital. This duality leads to lush, textured works and installations comprising layers of shapes and forms, blurring the boundaries between what is physically there and what is digitally inserted (or even projected) onto a surface.

Image of an artwork by Victoria Fu featuring a digital green square bent in one corner

‘Medium Square 4’ (2018). Victoria Fu.

Born in Santa Monica, and a Stanford and CalArts alumna (she is also the co-founder of The Moving Index, an online database of all things video art), Fu’s artistic practice explores how we navigate time and the body within this evolving area. “When I began working with moving image installations (film and video), I found myself migrating into the digital and virtual world, away from the materiality of film and its processes,” she explains. “I started to feel what can only be described as a sort of existential loss of the ‘real’ – whatever ‘real’ is. The loss of a connection, of situating my body in time and space. I addressed this loss through combining both analog and digital elements in a variety of installation formats and configurations.” With works such as Double Curtain 1 (2017), part of her solo show ‘Télévoix’ at New York’s Simon Preston Gallery in 2017, for example, she literally divided the room to create a double-sided installation that played with contrasts such as dark/light and physical/virtual, and showed her fascination with what the normally unseen rear of an image might be like. Meanwhile, in ‘Velvet Peel’, her solo show at LA gallery Honor Fraser in 2015, her interest in how we interact with our world was evident in Pinch-Zoom (2015), a large, Las Vegas-style neon sign in which fingers pinch in and out, as when manipulating the touchscreen of a smartphone.

Read more: Switzerland’s spectacular new ski region

LUX: You probe what lies behind an image. Can a digital image really have a ‘back’? Can you turn it over?
Victoria Fu: While working on Belle Captive 1 (2013) for the Whitney Biennial, I was making installations with faux walls. You could see a projected image on the ‘face’ of the wall, but if you went around the back, it was the unfinished raw wood frame of the structure, revealing the image as nothing more than an empty façade. I started thinking about how an image is, for lack of a better word, so ‘flat’ and one-directional. It begged the question: what’s on the other side? How would one conceive of an image ‘in the round’, or sculpturally, in installation?

Digital art installation of multiple screens by Victoria Fu

‘Belle Captive I’ (2013). Victoria Fu

LUX: How are you exploring this other side?
Victoria Fu: Part of what appeals to me is the unknown, and the spookiness of it as well. What is the dimension of a pixel – does it have space? What is behind it? Let’s flip it over! So much of what we see on TV, in films and advertisements, is all done in post-production. There are all these layers of things that don’t really have a root in the ‘real’ world. In most films, you can sort of imagine what the air smells like in a room between a figure and the background, you have that sense of dimension and place. But with enough computer-generated elements, there are so many disparate layers all spliced together to form a coherent image reality. There’s no texture. There’s no ‘smell’. I’m fascinated by that glassy emptiness.

LUX: Wait, what do you mean ‘the smell’ of an image?
Victoria Fu: How do we make sense of our relationship to images through our bodily senses? How does the act of touching the screen and the new haptic dimension of images influence how we understand where we are in the world, and to some degree who we are? There’s an ontological element to these acts, how we make sense of our being – obviously we use our eyes in this image-saturated world, but now we’re ‘touching’ images too. It makes sense then that we might try to make use of our sense of smell. What does an image smell like? Textures in certain images can conjure up an abstracted sense of smell. With some digital images there’s a void, like when you have a cold and you can’t taste or smell anything. It’s that absence that I find so interesting, as a texture in itself.

Neon yellow arrow wired onto a yellow wall

‘Scoop’ (2015). Victoria Fu.

LUX: There’s a lot of this duality in your work – the landscape that exists between the ‘there’ and the ‘not there’.
Victoria Fu: I identify with a generation that grew up in an analog world but is perfectly fluent and comfortable in the digital. I’m interested in mixing things together in a way that one can’t extract what part is digital and what is analog, and in showing how these things are inextricably connected to each other as images.

Read more: Meet the new creative entrepreneurs

LUX: How so?
Victoria Fu: Double Curtain 1 from ‘Télévoix’ is a single film frame that contains the glitches and by-products of hand-processing film. The shapes on the curtain are scratches on film emulsion, and the particular way in which the different color layers of emulsion flake off. I then took this film image to somebody in Hollywood who works with 3D post-production, and they extruded 3D shapes out of the 2D ones, almost like creating a topological map of a landscape, and printed it on the back of the curtain. The double-sided curtain expresses these dual worlds – it’s the same world, it’s one curtain, yet that reality can be expressed in more than one way (depending on which side you’re standing). There is a video projection on the wall behind the curtain that imagines what kind of shadows that 3D-extruded shape would cast. This is the game of telephone, where each translation distorts the next iteration of the original – hence the name of the exhibit, ‘Télévoix’.

LUX: How important to you is the viewer’s body in the space itself?
Victoria Fu: Very – it’s one of my primary interests. A work can be viewed as documentation, as a video file, and still engage somebody, but it really is a different experience in person. I think a lot about how we spectate, how we situate ourselves in time and space in relationship to the moving image, and how that is changing. When you view one of my moving-image works there are moments when you can get quite comfortable and immersed in the narrative, and then there are moments where you are yanked into another space – and sometimes it’s the very gallery space you’re sitting in. This back and forth is what I find interesting, where you never quite sit comfortably.

Neon light artwork depicting a hand pinching by Victoria Fu

‘Small Pinch-Zoom (white)’ (2015). Victoria Fu.

LUX: Have you thought about working in virtual reality?
Victoria Fu: I’m curious about VR but I draw the line at interactivity and an actual touchscreen. I enjoy the buffer between spectator and image, and that’s kind of where I live. VR still emphasizes a kind of cinematic looking in a way that might be in keeping with my interests.

LUX: Speaking of the moving image, the Frieze LA venue is Paramount Studios, a real film lot. Does that relate to your work in any way?
Victoria Fu: With Frieze opening in LA there’s a very conscious coming together of Hollywood and the art world, and I think there are a lot of commonalities between the two that I embrace, as it’s very relevant to the content of my work. The language and tools of film production are central subjects for me. I think the context of Hollywood will help underline how I am thinking through the processes and tools of how we create a visual reality through the moving image, and how we are changing as spectators, from viewers to users in a melding of the two.

Victoria Fu has been invited to create a site-based installation in the Deutsche Bank Wealth Management Lounge at the Paramount Theater, Los Angeles, presented in collaboration with Deutsche Bank’s Art, Culture & Sports division. Deutsche Bank has been supporting cutting-edge artists globally for more than 35 years – building a substantial collection of works on paper, recognizing young artists with awards and commissions and organizing numerous exhibitions and museum partnerships. For more information visit: art.db.com

This article was first published in the Winter 2019 issue

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Artist Betye Saar pictured in her studio
Artist Betye Saar pictured in her studio

In September 2018, the GRI acquired the archive of artist Betye Saar (pictured here)

As Frieze Los Angeles highlights West Coast art, Andrew Perchuk and Kellie Jones of LA’s Getty Research Institute introduce the new African American Art History Initiative and its place in the telling of California’s black art history

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Illustration of man and woman in black and white

Andrew Perchuk and Kellie Jones

In the fall of 2018, the Getty Research Institute (GRI) announced the establishment of the African American Art History Initiative (AAAHI), an innovative nationwide research program focusing on the rich postwar art and cultural legacy of African American artists. In 2019, as Frieze LA draws an international audience to experience the thriving contemporary art scene in Los Angeles, the GRI demonstrates its longstanding commitment to the city and its vibrant artistic history. The AAAHI will entail concerted efforts in the acquisition of archival material, the support of scholars and researchers, research projects that will culminate in exhibitions and publications, an extensive oral history program, and the dissemination of materials and findings on digital platforms.

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The AAAHI continues research efforts initiated by the Getty Research Institute and the Getty Foundation, particularly ‘Pacific Standard Time: Art in L.A. 1945–1980’, which brought together 60 cultural institutions across Southern California for six months from 2011 to 2012 to draw attention to the many unique and diverse artistic histories, among them the numerous African American artists, curators, and gallerists active in the region after 1945. For instance, the California African American Museum’s exhibition for ‘Pacific Standard Time’, titled ‘Places of Validation, Art and Progression’, documented the history, beginning in 1940, and forces that made opportunities possible for African American artists in the LA art scene. Meanwhile, the Hammer’s ‘Now Dig This! Art and Black Los Angeles 1960–1980’, is today recognized as a landmark exhibition that chronicled this historically under-researched area of American art and brought new attention to the work of artists such as Mel Edwards, Maren Hassinger, and Senga Nengudi.

As those exhibitions demonstrated, postwar Los Angeles was an important site of creativity for African American artists who migrated west in search of a modern future. Foundational artists such as Charles White paved the way for David Hammons, John Outterbridge, Don Concholar and Betye Saar. Through traditional media as well as avant-garde practices of assemblage, installation, and performance, these artists fundamentally changed the cultural landscape of Southern California and beyond. Individuals such as Samella Lewis, Cecil Ferguson and the brothers Alonzo Davis and Dale Brockman Davis championed the works of African American artists by developing gallery and museum networks, and were integral in sharing and publicizing the works’ significance with the larger artistic community. The AAAHI will supplement such past projects, and reach beyond the artistic landscape of Southern California, to acquire archives and oral histories, and support scholarship that will document these histories.

Read more: BASTIAN gallery director Aeneas Bastian on the global art world

The GRI has a small but growing collection of material from artists such as Kerry James Marshall, Lorna Simpson and Kara Walker, and September 2018 acquired its first major archive in relation to the African American Art History Initiative, the archive of Betye Saar. Over a period of 50 years, Saar, a pioneering artist and major figure in the postwar art scene in Los Angeles, has produced assemblages, installations and public art works that are conceptually and materially grounded in the African American and African diasporic experiences. Archives play a central role at the GRI, and Saar’s archive is a cornerstone of the African American Art History Initiative. Sharing such acquisitions digitally, the GRI intends to enhance the visibility of works of art and cultural contributions by African Americans and to become a significant site of scholarship for African American art and culture.

The Getty does not launch the AAAHI alone. Its collaborative endeavor aims to enhance the visibility of and scholarly attention paid to African American artists and build on the substantial foundation that other institutions and individuals have contributed to this crucial history. Our initial partners include the California African American Museum and Art+Practice locally, and The Studio Museum in Harlem and Spelman College nationally. The AAAHI’s growing advisory committee of leading scholars, artists and curators – which includes Andrea Barnwell Brownlee of Spelman College, Richard J. Powell of Duke University, Bridget R. Cooks of UC Irvine, and Mark Godfrey of Tate Modern – will help shape the GRI’s collecting strategies and evaluate how we can best serve the field. Complementing institutions such as the New York Public Library’s Schomburg Center for Research in Black Culture and the Smithsonian Archives of American Art, the GRI will make a distinct contribution as a research center for African American art of the postwar period. Further, the GRI will partner with historically black colleges and universities to maximize the research potential of its digital archives, increase scholarly access, and create a larger community. As the artist Noah Purifoy wrote in the late 1960s, “art is of little or no value if in its relatedness it does not effect change.”

Andrew Perchuk is Acting Director of the Getty Research Institute and Kellie Jones is Senior Consultant for the African American Art History Initiative at the Getty Research Institute and Professor of Art History and Archaeology at Columbia University

This article was first published in the Winter 19 issue

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Portrait of art collector Aeneas Bastian
Polaroid of artist David Hockney taking a photo

David Hockney byAndy Warhol, ca. 1972, Polaroid © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. Licensed by DACS, London. Courtesy BASTIAN, London

Established in 1989 by Celine and Heiner Bastian, BASTIAN opened its first gallery in 2007 in Berlin. Now, the gallery has placed itself on the global art map with the grand opening of a new space in Mayfair. LUX speaks to the founders’ son and gallery director Aeneas Bastian about Andy Warhol, the London art market and how collectors are doing things differently
Portrait of art collector Aeneas Bastian

Aeneas Bastian. Courtesy BASTIAN

LUX: Tell us about the London gallery and how it came to be.
Aeneas Bastian: I felt that when coming to London we should be in the middle of the traditional gallery district in Mayfair so we found a space on Davis Street [No. 8], which is fairly close to Phillips auction house and the Gagosian gallery. I remember starting this search for a London exhibition space about two years ago. I looked at quite a number of properties, but I had a very specific idea in mind so it took quite a long time to actually find the right space and this feels perfect now.

I really like Berlin, it’s my home town, I grew up there and I think it’s become a fantastic metropolis, but it is not a major market place. So I think trying to build a bridge between Berlin and London, Germany and the UK could be an ideal combination of two different worlds. And I could not think of any other major city in Europe that has the same the same kind of status or importance as London, especially when you look at the quality of exhibitions, both commercial exhibitions at private galleries and exhibitions in public institutions. Especially in Mayfair you can see that people are trying to achieve something outstanding, they’re committed to excellence. Berlin is different – it is quite experimental – so you see promising young artists working in their studios and creating fantastic work. And it’s probably the same in other fields, in restaurants or fashion. You would find some of the leading individuals in London, and maybe some of the most interesting new talent in Berlin… I think that’s the difference between the two cities.

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LUX: Why did you choose Andy Warhol rather than a German artist for your opening show?
Aeneas Bastian: That’s a good question! I’ve thought about this for quite a long time because obviously we would also like to be a showcase of German art in London, showing well known German artists who may not be as well known in the UK, but also younger emerging artists too.

Warhol, along with [Cy] Twombly and [Joseph] Beuys, has been one of the key artists when we look back at the early years of the gallery’s history. So I thought it would be interesting to bring that back and to take it to London, but I’d like the following exhibitions to be devoted to German art.

LUX: Is it Warhol’s polaroids particularly that you specialise in?
Aeneas Bastian: Yes, it’s the polaroids and we have some of the rarest and most important polaroid portraits, especially of other artists and some writers, actors, musicians and also a few people who came to the Factory when it was not just a studio or a place of production, but also an international meeting place. So, in a way, looking at these polaroid pictures is also a bit like taking a time machine and landing in New York in the late 70s early 80s. Some people are maybe lesser known today and some have become even more iconic, or famous. It’s very interesting looking back at this period now…

The gallery has always had a particular focus on post-war German and post-war American art too, including artists likeJoseph Beuys, Anselm Kiefer, Cy Twombly, Robert Rauschenberg as well as Warhol. They’ve always had a special place in our exhibition programme and have been essential for the development of the gallery, which was founded thirty years ago by my parents, Céline and Heiner Bastian. They were both curators and they knew Warhol well. There was no commercial link in any way at the time, but they worked together on exhibitions, projects, books, publications, and brought some of Warhol’s exhibitions to Germany during his lifetime. Today, we would probably define my parents as art advisers, but at the time, I think the term wasn’t really used.

Portrait of artist Jean-Michel Basquiat by Andy Warhol

Jean-Michel Basquiat by Andy Warhol 1982, Polacolor ER © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. Licensed by DACS, London. Courtesy BASTIAN, London

LUX: The market for post-war art and now, what we call 20th century and modern art — did that rise and then fall again in the 90s?
Aeneas Bastian: Yes, looking back at those changes, of course we’ve seen remarkable increases in values, but also several moments of crisis. When I speak with my parents about those times they always tell me that the art world was so much smaller, it was essentially a few European countries including France, Germany, Switzerland, Italy, and the UK, and then there was America, but except for maybe a small group of Japanese collectors there was no Asian market, and no one would ever go to Australia or India or Africa, or the Middle East. There was no global market.

LUX: Do you think there’s been a renewal of interest in late 20th century art recently, or has the interest always been there?
Aeneas Bastian: I think it’s always been there, at least in London. Berlin has had this sort of edgy, young contemporary art focus that sometimes modern art, twentieth century art seems to be missing because it’s always about the present. But I think London has always had this particular strength of offering such a wide range to art collectors from Old Masters to the present day. There is no other place in the world that could offer that kind of quality, especially when collectors are a bit more eclectic and interested in different periods and different forms of culture.

LUX: Are the big twentieth century artists, the ones who are no longer with us – such as Pollock or Warhol or Lichtenstein and so on –  mostly collected by people of that era or by younger generations too?
Aeneas Bastian: I think it’s both. It’s two worlds coming together. Elderly collectors who have had the privilege of maybe knowing the artist, and young collectors who have obviously not met the artist, but who are now becoming familiar with the work and studying, going to see survey exhibitions and reading catalogues raisonné and books written by experts, immersing themselves in the world and work of the artist.

Read more: A taste of Hong Kong’s future

LUX: In terms of collectors and the people buying art: how are they choosing? How do they come to their conclusions and how are they guided?
Aeneas Bastian: It used to be a very personal thing. You would meet a professional or an adviser or an art dealer and have a face to face conversation, and while this still happens today, now it’s also about digital communications. People are increasingly using these new ways of communicating, they are more open to just having a look at websites, they even use social media, like Instagram.

I don’t think people would necessarily say that an expert opinion is something that counts more than anything else, and I think that used to be the case. You used to say that there’s a particular scholar or an expert who would really be the person with an expert opinion and the ability to judge a work and the purchase or inclusion of that work in an exhibition would very much depend on that person. I think that’s not necessarily the case any more.

LUX: Is that a good thing?
Aeneas Bastian: I think it’s just the way that the world has changed. It has become more open in many ways, and I do think, in the end, that this is a good development. We are not limiting ourselves any longer to an art world centred in Europe and the United States, seeing men rather than women as experts, or looking at European artists all the time and forgetting about artists from other places in the world.

Exterior of Bastian art gallery in Mayfair, London

BASTIAN Gallery, 8 Davis Street, Mayfair, London. Photo by Luke Walker

Portrait of Paloma Picasso by artist Andy Warhol

Paloma Picasso by Andy Warhol ca. 1983 © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. Licensed by DACS, London. Courtesy BASTIAN, London

LUX: How important is it for artists, whether alive or dead, to be shown and supported by public galleries as well as commercial?
Aeneas Bastian: I am deeply convinced that it can have a tremendous impact, of course we are art dealers too, but we really understand understand the significance of public and non-commercial exhibitions. I think a talented artist only shown by commercial galleries may be one day more or less forgotten if there’s no public recognition. If the works are not part of museum collections, then the artist may disappear.

LUX: Finally, can you reveal anything about the other exhibitions you’ve got planned for London?
Aeneas Bastian: I’m certain we will have an exhibition of Emil Nolde, one of the German expressionists and a prominent German artists of the generation of Kirchner and Beckmann who is regarded as one of the most influential 20th century artists in Germany. He’s not unknown in the UK, but I think his work really deserves to be seen.

BASTIAN Gallery’s inaugural London exhibition ‘Andy Warhol: Polaroid Pictures’ runs until 13 April 2019. For more information visit: bastian-gallery.com

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Velocity black branded truck in a desert facing sand dunes
Velocity black branded truck in a desert facing sand dunes

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

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

Portrait of Velocity Black founder Zia Yusuf

Co-founder Zia Yusuf

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

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

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

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

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

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

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

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

Preview the Velocity Black world:

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

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

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

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

6. Where do you go from here?

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

Find out more: velocity.black

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Skier on a run down into a valley
New gondola connecting ski region in andermatt, switzerland

The gondola on the first stage of the link between the different resorts

This winter sees the opening of a spectacular new ski region in Switzerland, with the completion of a link between two neighbouring resorts. Rob Freeman reports on the latest step in the transformation of Andermatt into a major skiing and second-home destination

Amid the towering peaks and forested slopes of Switzerland’s Saint-Gotthard Massif, one of the most ambitious and spectacular projects in the world of winter sports has reached fulfilment this winter.

The opening of a new gondola lift marks the final step in the creation of the largest linked ski area in central Switzerland. Admittedly, the lift doesn’t enjoy the snappiest of names. But when it carries such a weight of importance as the Oberalppass-Schneehüenerstock Express does, then who would begrudge it as many syllables as it wishes?

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The ten-person gondola system is the final piece in a jigsaw which brings together two previously separate resorts to form the now fully joined SkiArena Andermatt-Sedrun.

The union, which also forms a liaison between the Swiss cantons of Uri and Grisons, has been a dream for many years and now the twin resort has been lifted into the premiere league of major ski destinations.

Skier on a run down into a valley

Skiing down the valley towards Sedrun

Alpine restaurant on the edge of a ski run

Restaurant Nätschen, on the link run between Andermatt and Sedrun

But what sets it apart from other mere commercial projects is that this extraordinary enterprise embraces a singular spirit of romance and adventure. It’s the culmination of a personal mission by Egyptian billionaire Samih Sawiris, who, at the suggestion of a former Swiss ambassador to Egypt, took on the challenge of leading the rejuvenation of Andermatt.

Sawiris’s Swiss-based firm Orascom Development put up very substantial financial backing to make the vision become reality. The achievement is all the more remarkable because he embarked on his mission shortly before the financial crash a decade ago – and has admitted that, had he known it was about to happen, he “wouldn’t have had the guts to commit to the investment – so, I was lucky”.

Apres ski train in Andermatt

The Après-Ski train runs regularly between Andermatt and Disentis

Even luckier are the skiers and boarders who can take advantage of what he has helped create – a ski area of mouth-watering scale and variety. “With the completion of this link, we connect two cantons, two languages and two cultures,” Sawiris told me. “The region from Andermatt to Sedrun with the connection to Disentis, which will be in place from summer 2019, will be a highlight of the Swiss winter-sports offer.” He described how everyone connected with the venture had worked tirelessly to see it completed. “There’s something for everybody now, for experienced skiers and freeriders, families and those who like to take their skiing easy.”

He added: “The good thing is, even if you’ve skied from Andermatt to Sedrun, you can still take the Après-Ski train back if you’re too tired to do it on skis”.

Read more: The Avenue of the Stars: a taste of Hong Kong’s future

At least £100 million has been spent on new lifts and upgrading the ski area – with the redevelopment as a whole said to have cost well over £1 billion.

Andermatt, once a small and quiet place (although it was noted for a dramatic James Bond car chase, during which Sean Connery zipped along the nearby Furka Pass in his Aston Martin DB5 in Goldfinger) has virtually doubled in size with the construction of stunning new accommodation to complement the skiing upgrade. But it has successfully retained its great charm, particularly along the historic cobbled main street, which runs from the main bridge crossing the Unteralpreuss river to the Gemsstock cable-car station.

Ice rink at five star hotel the Chedi Andermatt in Switzerland

The courtyard ice rink at the Chedi Andermatt hotel

Mountain restaurant in Switzerland

The mountain inn Piz Calmot on the Oberalp Pass

Andermatt has always offered superb skiing for both experts and intermediates. A north-facing bowl beneath the nearly 3,000-metre high peak of Gemsstock, known for its sheltered slopes that keep excellent snow, its challenging off-piste routes, and a fine, sweeping red run that intermediates can happily tackle.

On the opposite side of town, Nätschen has a wide range of fabulous, sunny slopes that are perfect for family skiing. Experts have a wonderful choice of black pistes and freeride terrain, but there are also reds and blues where intermediates can hone their skills.

But, as of winter 2018, that’s just the beginning. The extensive pistes of Sedrun and Disentis beyond have always been a big draw to Andermatt guests, and on the same Gotthard Oberalp lift pass. But until now it’s been necessary to take a train to reach them.

Andermatt Swiss Alps development village in Switzerland

The new Andermatt Swiss Alps development is on a sunny open plain

Now skiers and boarders can hop on the new lift, with a red piste also in place to link the two villages in both directions, and there is a further link to Disentis to come soon.

Sedrun’s slopes are the most extensive in the area, with glorious open runs, graded red but wide and welcoming, above the treeline.

Skiers walking away from a ski lift

On the slopes between Andermatt and Sedrun

Of course, assorted kickers, boxes, rails and quarters may not be the first things you look for on a piste map when planning your ski day – they’re not mine, either. But if you have some shredders in your party or anyone feeling adventurous, the much admired 600-metre long terrain park at Sedrun could come into its own. It even has a ski and boarder-cross track, with 1.4km of steep-walled curves and jumps. It’s entertaining to ski down the side of the park and watch the spills and thrills at least, even if you don’t want to polish your own tricks!

The SkiArena Andermatt-Sedrun now has more than 120km of linked slopes. There’s a total of ten new and upgraded lifts, most of them high-speed and high-capacity chairs and gondolas, giving the area 22 lifts altogether. Extensive snowmaking has been installed, covering most slopes, in case nature needs a helping hand in the long seven-month season.

Read more: Meet the new creative entrepreneurs

Close up shot of snow on a ski run

One of the south-facing runs towards Sedrun

And as you ski these runs you could well be in star-studded company. Winter Olympics hero Bernhard Russi, a son of Andermatt who won gold in the downhill at the 1972 Sapporo games, rates the run from Schneehüenerstock on the Oberalppass his all-time favourite.

And the last time I skied there I shared the mountain with up-and-coming local downhill star Aline Danioth and Swedish Freeride World Tour champion Kristofer Turdell, who both find that Gemsstock provides ideal terrain on which to train.

The valley floor has sunny cross-country trails for a tranquil change from the downhill variety, and the winter hiking network is delightful. Activities that provide alternatives to skiing are becoming increasingly popular here, including snowshoeing, tobogganing and ice-skating – helping Andermatt set a new benchmark as the complete mountain resort.

Holiday Village Andermatt

This ski season sees the official opening of the Piazza Gottardo, the central square of the new car-free holiday village, which lies beyond the rail station and close to the new ski-lifts. It’s just across the tracks from the development’s flagship, the Hotel Chedi, which opened in 2014 (and where guests have the luxury of their own butler and, of course, the hotel has a walk-in cheese humidor). Beyond the Chedi is the historic old village, retaining its great original charm.

Shops and restaurants are ranged around the Piazza. The village comprises five further hotels, including the just completed Radisson Blu Reussen, 42 high-end apartment complexes individually designed for an eclectic appearance, 28 chalets and a subterranean concert hall – and no buying restrictions for foreigners.

Discover more: andermatt-swissalps.ch

This article was originally published in the Winter 19 Issue

Watch Episode 1 of the “Mystic Mountains” documentary series on the people of Andermatt:

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Mercedes-Benz C63 AMG silver car pictured against blue sky
Mercedes-Benz silver estate car pictured from the front

The Mercedes-Benz C63 AMG: Mercedes’ high-performance version of a family car

Our high-performance Mercedes-Benz C63 AMG is transformed further by the simple expedients of an excellent annual service, and new high performance tyres from Michelin

One day, in the not too distant future, the idea of having your own metal encased room, with leather-covered chairs,which stands idle for the vast majority of the time, may seem as old-fashioned as owning a watch featuring a gyrating cage designed in the 18th century to try to counter affect the force of gravity.

Until then, I’m going to make the most of my Mercedes-Benz C63 AMG wagon. This car is the last in the line. A sleek, low, white, black estate car/station wagon, it is Mercedes’ own souped up version of its ubiquitous family transportation. In this particular case, it came with a 6.2 litre V8 engine, with more than 450 hp powering a relatively small car.

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These days, almost all powerful cars have efficient, turbocharged engines. My C 63, on the other hand, has a big, non-turbo charged V8 engine. To connoisseurs, this is like drinking an authentic Bordeaux first growth, rather than a New World imitator. Or listening to a Stradivarius violin. It’s not about the end result, it’s about how the result is produced. The car is only a couple of years old, but, car design cycles be being what they are, I remember speaking to the engineers at AMG, Mercedes racing division, almost two decades ago when they were talking about developing this particular engine. They were as excited as small children. In my car, it gains power with a gentle gurgle, which turns into a rumble and then a scream, and all the while the car pulls harder and harder. For a car nut, it’s an engine on a par with offerings from Ferrari. And it’s powering a car that can happily swallow a family and its sports and musical equipment, plus a family friend, and the imaginary Irish Wolfhound the family are lobbying to own.

A powerful turbocharged engine of today, on the other hand, simply punches along efficiently. Changes of tone and timbre and that mechanical sensation of being at a different stage in the power evolution are minimal. And electric cars make no sound at all.

The flipside over having a normal car is, as I have learned, that you need to treat this practical family wagon as if it is a thoroughbred. As cars do these days, it informed me around a month ago that it needed a service. It was duly booked in to Mercedes-Benz of Chelsea in London, where Dino, the service manager took care of both the car and me in a manner so professional and efficient, it almost wiped out all my previous memories of nightmarish customer service even from the most premium car brands.
Just like a racehorse owner would not stand (I would imagine) for dealing with somebody who has no idea what they’re talking about as an interlocutory for their racehorse care, the most frustrating element of looking after your cars is dealing with someone purportedly in a service department who wouldn’t know a V8 from a vegetable. If you know more about cars than your service advisor, I advise you to change dealerships.
Mercedes-Benz C63 AMG silver car pictured against blue sky

Dino, on the other hand, talked me through any potential issues with the car with deep knowledge, and was delightful to deal with. The car passed with flying colours, and the real surprise was when it came home. I thought its slight grumpiness had been due to the cold winter weather, but in fact with an oil change and related items in the service, the thoroughbred engine was hugely, demonstrably smoother and more refined. Note to self: service the car next time before she even asks.

When you have such a powerful engine in a relatively light car, one challenge you may come across as with the tyres. After all, these are the only things responsible for transmitting the kinetic energy of the car onto the road and thus propelling it forward. On my car, I had the correct specification high-performance tyres, which had been on the wheels for nearly three years. Accelerating hard out of a junction or corner, sometimes the tyres would spin round without getting traction. In heavy rain, fast cornering sometimes made me wonder if the car was going to hang onto the road or not.

I put all this down simply to the slight imbalance. The car was just a bit too powerful for its own good, or so I thought. But on closer inspection, my tyres were halfway worn. Time to change them. Rather than simply change for more tired of the same make, I decided to do what few people end up doing, and change all four tyres to the latest and supposedly best versions for a completely different marque.

Read more: Why you should use Instagram as your diary

I had heard more than good things about the latest tire from Michelin, the Pilot Sport 4S. Enough users reported that it had transformed their supercar driving experience, that I thought I would take the plunge on all four tyres on the AMG. But how big a difference could really make? Would it really be worth it?

Product image of the Michelin PS4S tyres

Michelin PS4S tyres

As I drove the car out of the Kwik Fit depot in Chelsea wearing four new Michelin PS4S tyres, I muttered aloud to myself that the car had been transformed. First, and unexpectedly, the ride was smoother. Lumps, bumps and little potholes in the road were not transmitted to me faithfully, shopping trolley style, as they had been with the previous tyres.

This was unexpected because high-performance tyres are, by nature, hard. They are made to give little in cornering, so that they can transmit the forces generated by the car faithfully to the road.

So, would the flipside be softer, less racy handling? I didn’t want that. Astonishingly, though, handling was also transformed – in a positive direction. The car seem to have a bigger, broader, stickier footprint on the road. You could feel more, in a positive way,  exactly how the car was positioned for a corner. There was no more wheel spin on exiting small roads in the cold and wet; when it rained, the car felt like it was on rails, rather than threatening to skate off them. This is why these cars were so sensational when they were new, I remembered, and why car writers consider them modern classics.

Searching for an analogy, the best I could come up with after a couple of weeks was going on previously it felt like the car had been wearing a rather old pair of dress shoes with shiny leather soles. Now it was wearing top specification athletic running shoes with support everywhere and super gritty soles. The analogy also extended to the ride, with the cushioning that implies. The manufacturer’s blurb says this is due to “a hybrid belt of aramid and nylon ensuring the optimum transmission between steering instruction and the road” – which must be true.

The difference is so immense, that I have asked myself what I would have thought, had the car been taken away, and the tyres changed, without my knowledge. If I had been driving the car and forced to guess what exactly had been upgraded, I might of said it had a whole new suspension system.

I can’t think of any further praise that saying that I am now seriously considering fitting for the same tyres to one of my Ferraris, which had four new tyres from the marque previously worn by my AMG, just two years ago. Watch this space.

And as for people owning high-performance metal rooms years into the future: well, there’s still quite a market for archaic, gravity defying and fabulous tourbillon mechanical watches.

Find out more at michelin.com and mercedes-benz.co.uk

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