Here at LUX magazine we like to have a car for every reason, and season. In one of northern Europe’s wetter winters of recent years, we dreamed of a car that could take us to Dakar – the now mythical Dakar of the crazy 1980s rallies – while also being enjoyable to drive between London and the Cotswolds, or Geneva and Verbier. Porsche kindly conjured up the 911 Dakar, one of the most extraordinary machines of recent times. Meanwhile, to shake off the cobwebs, we imagined a roofless car where you could drive, with a couple of friends, or all three of your blonde, Etro-clad boyfriends (sharing is caring), at high and enjoyable velocities; and BMW created the M4 Cabriolet and sent it to us. And then, when all’s said and done, we just wanted an excellent, understated, clean car with a beautifully designed interior, for those quick incognito visits to Loro Piana. Mazda’s CX-60 hove silently into view, like Jeeves

The Porsche 911 Dakar is a wild animal, part sports car, part rally car, and definitely not for the faint of heart. We take it out on a long lead and are smitten. The BMW M4 Competition, in our next story, meanwhile, is an old-school car for a rakish rogue to drive from Milan to Monte Carlo in, Havana in hand, his third mistress in the front seat, and a case of Richebourg in each of the back seats

Why is Porsche a car manufacturer that LUX has a particular soft spot for, like Rolex? Because they make engineered precision made products that very price from accessible luxury (918/Oyster), to among the most desirable and expensive products in the world. But they also make these products specialised to appeal to a variety of uses, and are the best in their individual class at those.

So while Rolex has a Sea Dweller and Submariner in case you want to explore deep reefs, Porsche has, within in its iconic 911 range, versions specialised for race tracks (GT3), for Monaco posing (Targa), for high-speed touring with a twist (Turbo), and for old-fashioned top down cruising (Cabriolet). There are numerous others.

To this, we can now add the Dakar. Car companies over the decades have not been short of marketing-led branded badges: you can buy variations of mass-produced cars called the Roland Garros (after the French Open tournament), the Vogue (a Range Rover), and the Picasso.

But none of those will make you any better at tennis, fashion or art; they are pure marketing. The Dakar is not one of those. It is named after the extraordinarily punishing and challenging Paris Dakar rally of the 1980s, which Porsche actually won, twice.

On the 40th anniversary of their first win, Porsche have created a 911 Dakar, but they didn’t do it simply by sticking a badge and some sand coloured leather inside.

Instead, they completely reengineered the car, effectively armour plating Its bottom half, raising it off the ground with an option to raise itself even further, even at high speeds (you have to go over big obstacles at high speeds on a rally), and re-engineered the driving programs to include modes called “off-road” and “rallye”, and tested them thoroughly in a real desert.

The Dakar comes as standard with massive balloon-like Scorpion off-road tyres more commonly found on vehicles taking you on safari, inside there are racing bucket seats (perhaps slightly less than useful for daily use) and a roll cage in the back in case you flip the car over while going up a crack in the Sahara desert at 90 mph.

The car’s engine is that of 911 GTS, one of the fast versions of an already rapid model.

But what’s it like to drive? If you, like us, thought that this high-performance dune buggy would feel a bit odd in normal city and country life, you would be as surprised as we are. It is, frankly, a hoot from the moment you turn the switch to start the engine, louder than normal 911s because the rear seat has been replaced by a metal roll cage. Put it into Sport, the standard mode for driving on road, tap the accelerator and go round a roundabout and the thing is an absolute blast. Where all other 911s, even the fastest ones, are so over engineered for the road they deal with more or less everything up to the legal spirit speed limit with a shrug of efficiency, this car lets you know that it’s made for the wild side of life.

The suspension is different to a standard 911, and you have those tyres, meaning you feel when you’re going round corners. Over high speed bumps it floats a little bit and squishes a little bit in a manner unthinkable within Teutonic brilliance of perfection of other 911s.

That’s not to say it’s better, necessarily, that depends a little bit on what you’re expecting from your car. It’s certainly laugh out loud fun in the way other 911s are not, but it’s also loud, and a little bit disruptive. It’s not a car that you can just fold yourself into at the end of a long day and ask to drive you home: it feels much more old school than that, and indeed if you are used to the old-fashioned air cooled 911s which were much more of a handful in some cases, this is true to DNA.

But it has something that none of them do, which is the ability to turn off a road, drive down a track or a muddy field and surge forward exactly where you aim it, taking obstacles in its wake. We drove through a muddy, grassy field in the Dakar and not only was it brilliant – it was enormous fun.

It’s also extremely fast – as fast point to point as the 911 GTS it is based on, perhaps more so in wet conditions when those tyres come into their own, but less so on an extremely twisty road where the increased body roll and general to-do make it more of a handful, but less brutally efficient.

We absolutely loved it, because we feel that many of the brilliant models in the standard 911 range are almost a bit too competent for their own good, like someone buttoned up that you know can be a party animal, but instead just chooses to do everything extremely precisely.

The 911 Dakar can do everything too, but does it with a big grin on its face. If they were ever making a remake of the classic road trip movie from the 80s the Cannonball Run, the Dakar would play the leading role.

porsche.com

BMW M4 Review

BMW is a brand that means different things to its different aficionados around the world. In China or the Gulf, it is a maker of big, shiny, powerful 4x4s.

To motor racing lovers of an older generation in Europe, it is the creator of the “M for Motorsport” cars, which are finely-honed and focused road racers.

For others, its heritage shines most brightly as a maker of coupés, two-door, four-seater cars that combine style and a rakish sportiness with the practicality of having back seats and a boot/trunk that is usable, and the knowhow of a manufacturer of luxury cars.

This particular heritage line probably started with the Bauhaus-style sleek coupés of the 1960s and 70s. It was amplified by its cultish 635 CSi model in the 1980s, the pinnacle of the Six series, which was the car of choice for someone not wanting to show off. Ferrari-style but wanting to look more stylish than the driver of yet another fast sedan car.

As with all cars, these heritage lines have become somewhat blurred by the proliferation of model lines and propulsion types over the years, and the profusion of huge SUVs. BMW no longer produces a Six series: customers are directed to the Eight series, which has a big, long coupe in its lineup, but more on the luxury than the sporting end of the spectrum and does not look as cool.

Climbing into the new M4 (we had the convertible version, but the review would be the same for the coupe, just with less La Roche Posay Factor 30) , it instantly struck us that this car is the progeny of two of those three illustrious heritage lines. It’s a long, rakish and stylish two door car with a four-seater interior, big enough for four adults but cool enough to look like a two-seater sports car unless you peer carefully inside. Its interior is particularly fun, at a time when many car interiors are starting to resemble the same virtual reality control pod. You get bucket seats with carbon fibre cut outs, plenty of carbon fibre elsewhere, and the feeling that you are piloting a sports machine, not a games console.

It’s also an “M Car” – M originally standing for the Motorsport division of the company where cars were individually conceived and built quite separately from the normal model lineup. That distinction has been diluted by the application of M badges to models in the rest of the range, but for enthusiasts, the M badge followed by a single number, like M4, still the denotes a BMW of supposedly pure racing heritage.

So much for the looks and the theory: what about the practice? This, after all, is a world where the average electric car will burn off most huffing and puffing petrol engine vehicles in a straight line race, and when many cars will cling to the road around bends, meaning there is no real world distinction between a sporting high-performance car and a standard electric car which just happens to go very fast.

Actually there is. You realise this as soon as you turn on the growly engine of the M4 and aim around your corner. This is a car that has proper steering feel and weight, enjoying itself as it zips into and out of corners, encourages you to drive faster and take the twisty route to wherever you are going rather than simply shuffle you along in an efficient haze of forgettable speed. The fact that it’s a convertible is, for us also a big bonus as when you put the roof down you have so much more sensation.

Passengers also feel they are in something sporting and special, rather than yet another generic, nicely built, swift piece of transportation. You would never use the M4 as an Uber, even though it’s plenty comfortable for four.

The original M cars had a reputation for being as fast as fun as pure sports cars like a Porsche 911. The BMW coupe from the 1970s and 80s were paragons of style. The M4 Competition cabriolet seeks to combine those qualities in an automotive climate that is completely different, dominated by safety and sustainability requirements which largely strip the soul and individuality and fun away from most machines. Remarkably, it succeeds: the only drawback is, it’s so good, and so well priced compared to other cars of its abilities which are in the category above, that it is bound to be a reasonably common sight on our roads. You can’t have everything. But you can have nearly everything.

bmw.com

Mazda CX-60 Review

Stealth wealth is a buzz phrase in increasing use at a time of continued political and economic uncertainty in the world.

What does that look like when applied to motoring? Perhaps swapping a highly ostentatious SUV for something that can do the same job while attracting far less attention, but with an interior appointed well enough to make you feel relaxed and content.

What does this have to do with the Mazda? Well, it’s a car that from the outside looks good enough, if a little plain: nicely proportioned, but with nothing that would make heads turn or anyone ask you what you are driving. For some people that is a bonus, and for many others it may simply be that it is less important then the inside of the car – where you spend all your time, compared to the seconds that you spent looking at the outside of your car.

The interior of the Mazda is lovely. And the light materials reminded us somehow of a beach club in the south of France, possibly not a look the designers were aiming for but very positive and stylish nonetheless. In a traffic jam or a slow highway, it’s a delightful place to be – more attractive than the interiors of many more expensive rivals which have followed each other down the rabbit hole of dark Bauhaus type black hole design for many years.

For many, the word Mazda is a byword for agility, as this is the company that created the brilliant two seater MX5 sports car which has kept singles and couples entertained with its joyously gazelle like handling for decades. You obviously don’t get the same kind of agility in a this, a mid-size five seater SUV, but this car still has a lightness of touch which is enjoyable; it never feels heavy, always precise.

Altogether, a most pleasing car to spend time in for driver and passengers. And one which, if it entered your daily life, would make you feel less conspicuous and quite possibly more at peace.

mazda.com

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Reading time: 11 min

Domaine de Lavy, in the Dordogne, a historic, green and hilly region in Southwest France

In the heart of the historic Dordogne region, Domaine de Vieux Mareuil stands as a sanctuary-like estate with a simple yet profound philosophy: providing guests with freedom while preserving the land that defines it

Spanning 200 acres of forests, fields, and exquisitely restored properties, Domaine de Vieux Mareuil reflects the spirit of its creator, Laëtitia Morlat.

Madame Morlat’s family history dates back to the early 1200’s in Dordogne. She lives in the home she was born in and enjoyed her childhood in the Perigord Vert region. “I love every property because each one contains a part of my soul and my spirit,” she says. Madame Morlat’s intimate connection with the area and her determination to protect its future is at the core of the estate.

Laëtitia Morlat, owner and designer of Domaine de Vieux Mareuil

There are no rigid schedules, prefixed packages, or brochures dictating your stay at the Domaine. As Madame Morlat explains, “We want to leave each person that comes with an experience.”

Read more: Kempinski Palace Engelberg Review

Whether it’s a private dinner under the stars or truffle hunting with dogs in the forests surrounding the estate, the experiences are made bespoke to each individual. The idea is for guests to embrace the land they inhabit. Sustainability isn’t a buzzword at the estate—it’s a way of life.

A modern style billiards room in the former Soldier’s House within Domaine de Lavy

From the moment you step onto the estate, it’s clear that the Domaine’s connection to the land is not performative but essential. A sprawling permaculture garden provides the chef with organic, seasonal produce, ensuring that meals are not just farm-to-table but deeply tied to the local soil.

Follow LUX on Instagram: @luxthemagazine 

Partnerships with nearby producers keep the supply chain short, reducing the estate’s carbon footprint while supporting the regional economy. Even the furniture in the beautifully Provençal designed interiors is often sourced second-hand and restored—an approach that celebrates craftsmanship while embracing circular practices.

A sitting area in Domaine de Bagatelle with access to the garden and sweeping views across the valley

Madame Morlat’s experiences abroad, particularly in Japan, shaped her philosophy of finding beauty in simplicity. This is evident in the carefully curated art by local artists, and the hand-painted details on beams and fireplaces by her long-time friend and collaborator Christophe Boucher. These design choices mirror her commitment to preserving not only the spirit of the past but the environment’s future.

Each bedroom is meticulously personalised and named in Chateau de Chanet; the above is Chambre Josephine

The Domaine is a haven, not just for its guests but for the ecosystems it fosters. Solar panels power much of the estate, while beehives and insect houses support local biodiversity, and forest maintenance practices ensure the land remains healthy.

For Madame Morlat, sustainability isn’t separate from luxury; it’s integral to it. It’s about ensuring that the pristine landscapes that shaped her childhood, and now provide solace for her guests, will last for generations.

Villa de La Roussie

Madame Morlat’s approach to hospitality was shaped by a new era, a world redefined by the pandemic. Privacy is no longer just a luxury; it’s a necessity. At the Domaine, guests enjoy this freedom in every aspect, from how they spend their time to the exclusive use of spaces. “People come here for the freedom of privacy,” Madame Morlat emphasises.

Read more: Mandarin Oriental Lucerne Review 

This ethos permeates the entire estate, offering guests the liberty to craft a stay that reflects their needs, desires, and imagination. The 44 staff aren’t just employees; they are collaborators who contribute to creating unforgettable experiences for each guest.

The swimming pool in Chateau de Chanet overlooks the gardens of the estate

Each of the four estates possess their own character, shaped by their unique locations, yet all share an attention to detail that show a commitment to quality and authenticity.

Château de Chanet, true to its name, exudes the stately charm of a castle while retaining an inviting warmth. Despite being the largest property within the estate, its wooden beams and thoughtfully designed interiors create an unmistakable sense of home. It is also where Madame Morlat and her husband spent their honeymoon!

The bright drawing room filled with natural light in Villa de La Roussie

In contrast, Bagatelle is for those who seek a more modern escape, reminiscent of a villa on the Côte d’Azur. Its sleek, minimalist design is complemented by breathtaking views, with a pool that stretches out toward the rolling hills of the Perigord countryside.

Domaine de Lavy is an entertainer’s dream. Nestled amidst lush green hills, this property comprises two separate houses, making it ideal for hosting large groups of friends or family.

Every nook is used to its full potential, even this chess corner at Chateau de Chanet

Finally, there is La Roussie, the smallest and most intimate of the estates. Set within a lovingly restored farmhouse, it’s ideal for creating cherished memories with loved ones; a place where the simplicity of rural life meets the refined comforts of the Domaine.

Read more: Prince de Galles, Paris Review

This is Madame Morlat’s legacy: not just a collection of properties, but a philosophy of love for a region, a history, and a future. At Domaine de Vieux Mareuil, luxury isn’t about excess – it’s about “intention”. That intention, like the estate itself, feels timeless.

Domaine de Bagatelle’s design blends the elegance of the French Riviera with the distinctive charm of the French countryside

Rates: €6,500 Euros per night at Chateau de Chanet/Bagatelle Estate/Lavy €3,000 Euros per night at La Roussie Villa.

Minimum 2 nights stay

domainedevieuxmareuil.com

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The winter mountain haven of Kempinsky Engelberg, in one of the snowiest parts of Switzerland

Perched beneath the panoramic Titlis peak, Kempinski Palace Engelberg blends Alpine charm with refined luxury. Equal parts indulgence and spectacle, it’s a winter escape for those who like their wilderness with room service

For a country that has many famous winter sports resorts, such as St Moritz, Zermatt, Verbier and Gstaad, Switzerland also has a large number of winter sports resorts that you may never have heard of. Including some rather old and established ones.

Engelberg has been a summer and winter mountain haven for more than 100 years, and travelling there you wonder why it is not more internationally known right now. Access is among the easiest of any ski resorts, a quick train ride up from the town of Lucerne, itself less than an hour from Zürich and it’s international connections.

An evening scene in the Kempinski Engelberg restaurant Cattani, where hearty but refreshing Italian cuisine is a feature

There was a car at the station waiting to take us to the luxury Kempinsky resort, but this was not exactly necessary as the grand hotel itself was clearly visible just a few metres away; instead the luggage went by car. The “sports” in “winter sports” surely starts with the walk from the station…

Follow LUX on Instagram: @luxthemagazine 

The building itself, is one of those Art Nouveau palaces dotted throughout central and southern Europe, from a time when the most luxurious thing the super wealthy could do was travel to a grand hotel in a neighbouring country.

Sympathetically refurbished, the contemporary-feeling reception area is home to some beautiful local collaborations throughout the year: real rabbits at easter, a beautiful nativity at Christmas.

A luxury bedroom stay at the Kempinski Engelberg

Often in these legacy hotels, bedrooms are small and compromised, but not here, as the hotel, originally built in 1889, closed for four years for a massive refurbishment which seamlessly incorporated a new wing, reopening in 2021. The new wing is so well designed that you really have to pay attention to be aware of the join between the buildings along the broad corridors as you walk through. Our room was big, airy, modern, with a huge balcony covered to the elements to facilitate sitting outside at all times of year. It looked out over a winter garden, home to a skating rink in winter; the view continued up the valley to a dramatic snow covered rock face.

Read next: Mandarin Oriental Lucerne Review 

At just over 1000m, Engelberg is not high by Alpine standards, but facts can sometimes be deceiving. Its position on the northern flank of the Alps means that it receives the best of all the northernly snow in the Alps – the coldest and best powder – and generally has a snow record to match resorts of far higher altitude.

Festive comfort and cheer at the Kempinski Engelberg

A shuttle bus takes you to a gondola which zooms up through a forest plateau into a big snow bowl high above the tree line, with a variety of runs, mainly suited to intermediates. In summer, it’s a walking paradise as all the mountain areas curve around the valley in a C-shape, giving a variety of options for both hiking and snow sports. It’s not as extensive as the biggest ski areas in the Alps, but there’s plenty to explore over a few days and dramatic views down to the Swiss plateau and lakes from the top.

Head back to the hotel, and the place you have to head to whether you have been skiing, hiking, or simply strolling around the pretty village centre, is the rooftop pool and spa, which is enclosed in glass, with dramatic views in every direction. It’s a big, long and generous pool with hydrotherapy jets at its sides, meaning you can enjoy it to lounge or to do some proper laps; or lie on a lounger with a view of the Alps, basking in sunshine while protected from the wind.

Balcony terraces on the new wing are huge and feature uninterrupted views of the northern peaks of the Alps

The hotel’s main restaurant, Cattani, is a carefully and sympathetically reimagined rework of the traditional grand hotel restaurant, with immensely high ceilings, windows and grandeur, offset by a casual chic: blonde woods, orange banquettes, no tablecloths, and light Swiss-Med cuisine. Altogether a brilliant reimagining of a mountain resort hotel.

kempinskiengelberg.com  

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Olaffur Eliasson photographed for LUX in his Berlin studio by Simon de Pury

Olafur Eliasson is an artist of global renown, a former breakdancing champion, an academic and a passionate champion of the planet. Simon de Pury, auctioneer extraordinaire and long-time LUX collaborator, creates art collections for the world’s super-wealthy and runs celebrity charity auctions with a biting silver tongue. De Pury travelled to Eliasson’s Berlin studio and home, where the two discussed light, communication, birthdays, art and the human rights of the planet’s plants and creatures

Simon de Pury: First, a question I often asked when I was interviewing someone for a job: if you could be an animal, what would you be?

Olafur Eliasson: I would be a jellyfish, I think. They move so graciously and they’re very slow. I like that a lot.

The Serpentine Pavilion lamps, 2007, by Olafur Eliasson. Photograph by Simon de Pury

SDP: I heard that you have a winter birthday.

OE: Yes, the 15 February.

SDP: So that makes you Aquarius. Do you follow astrology?

OE: No, I don’t. It’s remarkable that everything always fits. It’s a little bit like fortune cookies. It’s always nice… it’s like: you’re going to meet a friend next week. That cannot be wrong. But I think the question is whether we have room in our life for matters that don’t really fit into Western science.

Read more: Interview with Claire Ferrini of Astrea London

I think Western science falls short of providing a safe future. You could refer to indigenous knowledge, for example, or knowledge about trees, the forest, the cyclical nature of weather and seasons, and how to treat nature and so on. It is remarkable to observe that these knowledges are considered absolutely non- functional or non-important by the rationalised or pragmatised minds of Western society.

And it turns out that there is a lot of insight into happiness, success and health that indigenous knowledge addresses. The trees are not as simple as we humans thought they were. And this gives us a great opportunity. When we see a tree, instead of saying, “Oh, there is a tree, what can I use that for? Can I make money with it?”, we can become crucially aware that if we indeed keep exploiting or extracting nature, we are going to ruin our own livelihood, the wellbeing of the planet.

The first set of designs for the LUX logo by Olafur Eliasson

SDP: I recently saw a Belgian businessman who is based in Brazil. He was discussing a project with an Amazonian gentleman who told him: listen, I first need to consult the trees. Once the trees gave a positive feedback, they were able to kick off their project.

One of the most fascinating experiences I’ve ever had is when I attended the annual Summer Nights gala you curated for the Fondation Beyeler. You staged an incredible environment just for that one night and your sister provided amazing food.

When we entered the room where the dinner was to take place, everything was in black and white. We suddenly experienced the world as if we were colourblind. The weirdest thing was eating food when it’s only black and white. You got up and started to give a speech, you pressed a trigger and colour reappeared as by a miracle! I have no clue how you pulled that off.

The playful evolution of Olafur Eliasson’s LUX logo designs

OE: Yes. White light, like sunlight, is the spectrum of all the colours of the rainbow. If the white light missed a colour in it, then it would miss in the rainbow. We know Newton’s lens with the prism [where white light enters the prism and emerges on another side separated into the colours of the rainbow].

White light is the visible area of the electromagnetic spectrum. Each colour has a special wavelength, measured in, I think you call it a nanometre. This is how light works, right? There is a yellow light in the yellow spectrum that is 100 per cent monochromatic. In our eyes, we have what are called receptors for light: we have blue, red and green. We actually don’t have yellow because the mix of red and green produces yellow.

Read more: 180 years of history with Penfolds

If you have this monochromatic yellow light and there’s no other white light, you are, in fact, only seeing a black and white image. Humans are capable of seeing more grey tones than colour tones. That’s why a black-and-white photo by Ansel Adams can sometimes look more real than the same photo in colour.

So you realise that our eyes really influence our brain to interpret visual information – say the food on your plate. The vegetable, you thought, is green because it appears to be in the shape of an asparagus. But actually it could be an orange carrot. This means that I already have a predetermined opinion about what I’m looking at and that influences what I’m looking at. Perhaps this is why we have a hard time changing our mind. It is what the brain tells us we are seeing. That’s interesting, because it suddenly throws up that reality is relative. For me, it shows how you are the author of your own responsibility with regards to what and how and why you see. You can choose to change your view.

The final Olafur Eliasson design for the LUX logo, as seen on the cover of our Winter 2025 issue

SDP: At the Summer Nights gala, we all had under our seat a Little Sun. Can tell us about it?

OE: Occasionally, I have organised events using a little handheld solar lantern called Little Sun. It’s a handheld little power station, which has a solar panel, strong and qualitative. The Little Sun project was to advocate and build awareness around sustainable energy. So it also has that little educational offering to have confidence in solar panels. Because 15 years ago, when we were testing the very first slides, some people would say, well, I don’t believe in solar panels. Now everyone knows what a solar panel is. We have delivered one million off-grid lanterns in sub-Saharan Africa. A large amount of our lamps – I believe one-third – are distributed at no cost in places where there is no economical infrastructure, such as refugee camps. My co-founder of Little Sun, Frederik Ottesen, has now for many years lived in Zambia to build this.

SDP: When Sam Keller, Director of Fondation Beyeler, introduced you that night, he said, “Olafur Eliasson is a 21st-century Leonardo da Vinci.” In your practice as an artist, an activist, an environmentalist – in your multiple activities, who do you measure yourself with?

The complete sphere lamp, 2015, by Olafur Eliasson. An open woven basket afixed to a circular mirror that creates a ‘complete sphere’

OE: I am really grateful for what I have been doing. My studio in Berlin has a 30-year anniversary this year and I’ve been very focused on how to give back to younger artists, their conditions and teaching at art school. I have my amazing studio team; I have the same two gallerists that I started with: Tim Neuger & Burkhard Riemschneider here in Berlin, and Tanya Bonakdar in New York. I admire people like I admire the jellyfish for its easygoing way of swimming. I never was very focused on competition or the idea of the heroic act.

Follow LUX on Instagram: @luxthemagazine 

I am momentarily very inspired by the structural language specialist, the late Marshall Rosenberg. I’ve thrown myself into quite an intense study of this founder of nonviolent communication. It is about speaking and acting without inflicting judgment or threatening people you have disagreements with. I think art can address, not just the feelings that people bring to the room, but also their needs. There is much less likely to be a conflict or a polarisation, if we can state our needs fundamentally.

Needs can be very personal: we want to have a life, we want to be acknowledged, we want to be healthy, we want an education, and so on. I have a need for silence, because I get anxious if I don’t have silence.

A portrait of Olafur Eliasson by Jonathan Newhouse, for LUX magazine

SDP: One of the reasons I’ve always loved art is that art is one thing that can bring us closer together. To hear you speak now about nonviolent communication is riveting. I didn’t realise that this was also part of your focus.

OE: It’s a recent development. I keep finding out that the world is quite amazing. I remain humble and grateful for the many opportunities and in particular for the incredible career I’ve had. And there are many, many collectors and artists and friends and gallerists and museums who have believed in me.

Read more: Why preventative healthcare is essential 

SDP: It’s extraordinary to realise that your career already spans 30 years. Your list of achievements is phenomenal. What are your dreams going forward?

OE: Klee did this Angelus Novus, of the angel that faces the past and the wisdom of the past, but, in fact, flies backwards into the future. That was the kind of conservative idea of what is a good life. You learn from the successes of the past. The late philosopher and anthropologist Bruno Latour said that, considering the fact that modernity created the climate crisis, we actually can maybe conclude the past wasn’t quite as successful as we thought. The ground is trembling, it is collapsing right underneath our feet. I hope to have the courage to keep reinventing myself. And my biggest wish is that people still want to, and consider that relevant.

‘Shadows travelling on the sea of the day’, 2022, by Olafur Eliasson, installation view, Northern Heritage sites, Doha, from a group exhibition for Qatar Museums’ Qatar Creates, 2022

I just looked at a cartoon where a small dragon sits on the back of the panda, and the dragon asks the panda: what do you like the most, the path, the journey, or the destination? The process or the goal? My generation grew up with these questions. We said it was about the process and not the destination. The panda says, it’s the company. It illustrates the fact that we are, more often than we think, stuck in our own paradigm, and that prevents us from seeing things anew. That’s why I also named my recent show in Tokyo “Sometimes the river is the bridge”.

Hope alone is not going to change much. I believe you need to take action yourself, to get out and do it; to not only look at the horizon, but down and around, and learn from those you disagree with, find mutual company and make a movement. Then you can create change.

SDP: I always look at artists as mediums, as I feel that artists see things we don’t see yet. Artists, on the whole, are directed to the future. I feel all your activities are directed towards the future. It’s so interesting with what you said about hope. One always says hope is what dies last.

Eliasson with his 2007 ‘The Serpentine Pavilion lamps’, 2024. Photograph by Simon de Pury

OE: I think that in many ways it is also about love, to admit we all have a need for love. Maybe we need a care economy that would cater for caring for future life on this planet. There are some companies that aspire to make nature the chair of the board. There is a lot of legislative work being done by grassroots organisations, such as the charity ClientEarth, founded by James Thornton. It represented the air of London by suing the UK government for having too many pollutants. It’s a famous case. There are many countries where rights of personhood are becoming part of the legislation. Non-humans, such as mountains or rivers, have rights of personhood to protect against human intervention. I like this idea that we humans are not so exceptional any more. For one project called “Future Assembly”, I worked with others to propose that the Human Rights Charter is rewritten so that every part of the world should have a seat at the table: animals, the sky, the ocean – they should speak up for their rights.

Breathing earth sphere by Olafur Eliasson is a permanent public artwork on Docho island, South Korea, created specifically for the island’s volcanic topography, from 13 Nov 2024; “Olafur Eliasson: your curious journey” is at Auckland Art Gallery Toi o Tāmaki, 7 Dec 2024- 24 Mar 2025; aucklandartgallery.com

Olafur Eliasson Studio

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Reading time: 10 min

A collectable Penfolds St Henri bottle

It’s a given: when you gain enough wealth, you start to collect what interests you. But what really drives the collector of wine, art, watches or cars? Immediately below, LUX Editor-in-Chief Darius Sanai, himself a collector, gives his views; and then we speak to some prominent figures in each of those worlds, including the chief winemaker of luxury wine house Penfolds, who is also a collector, for their own, unique, analysis

Is collecting – wine, art, watches, cars, anything – about passion, investment, obsession, love, show? It can be about any or all of these, sometimes with a serious splash of philanthropy thrown in (and more than occasionally, a dash of kleptomania).

One definition of collecting might be having more of any single category of object than you can ever make use of. No serious wine collector, however bibulous or generous, will ever be able to consume their entire collection. A car collector will have desirable and much loved cars that they don’t drive for months, sometimes years, due to lack of time. Art collectors, who have the luxury of being able to display all their works simultaneously, frequently don’t have the space to do so.

A rare, manual transmission 2004 Ferrari 575M with Fiorano race handling package, from the collection of Darius Sanai. Photographed at Cliveden House, one of England’s most sophisticated luxury hotels

What I love about collecting – and I indulge to different scales in all the categories above – is that it is essentially human, in that it is quite irrational. Why have more of something than you will ever make use of, and still spend your time and energy acquiring even more of it?

It’s usually not about investment. Sure, most smart collectors have a hope that there will be a financial upside to their acquisitions. And it can be very lucrative: fine-wine prices have increased by between 300 and 400 per cent since 2000, more for some special wines. The great classic cars have rocketed in value. And everyone knows how superstars emerge onto the art market. But very few collectors of anything have investment as their primary motivation.

What you need more than anything else to start a collection is passion. And perhaps a hint of obsession. I bought my first bottle of wine as a student, driving a little French sports car through Burgundy. It’s still there, as a kind of founding stone, which is pointless, really. My first significant artwork was acquired from a group show I attended in Italy in the late 1990s; the then barely known artist has since become very famous, but I bought it because I liked the artist.

A vineyard at Wrattonbury, Australia, whose Cabernet Sauvignon grapes are used in Penfolds’ now-legendary Bin 707

Passion leads to exploration, education and expertise. The greatest collectors make the market. But, ultimately, collecting is about enjoyment: the art on the wall of the private museum, a different watch on your wrist every day, a great wine shared with friends.

In this, wine is in a category of its own, because when you enjoy it you consume and destroy it. My Penfolds collection (I bought my first Penfolds Bin 707, a case of the 1992 vintage, in the late 1990s) is depleted because it is so delicious. It makes opening a bottle more special than gazing at an artwork or climbing into your favourite classic Ferrari, as it’s all about taking a moment in time to enjoy a bottle made at a moment in time and that will never exist again. Good health.

Darius Sanai

Peter Gago, Chief Winemaker of Penfolds, is also an art collector

THE WINE CREATOR: Peter Gago

Chief Winemaker at Penfolds, Peter Gago is the maker of hyper-collectable wines such as Grange. He is also a passionate observer of the wine market

LUX: What would you say makes a wine collectable, rather than just good?

Peter Gago: Just as beauty is in the eye of the beholder, wine quality and appeal is palpably subjective. However, global third-party endorsement – scores from highly regarded critics – do anchor a wine collectability index. Coupled with a great story, track record, rarity, historical secondary- market appreciation, the collectables follow. This humble collector also collects many elusive “good” wines that still improve in the cellar and reliably deliver alluring secondary and tertiary maturation characters over time.

A Penfolds Grange 1953 at the brand’s Recorking Clinic: in its early days, it was known as Grange Hermitage. This bottle is almost priceless

LUX: A number of Penfolds wines have become collectable over the past years. Did you expect this to happen when you made them?

PG: At Penfolds we aspire to craft wines with a propensity to cellar, that mature gracefully over time. We also retain a culture of releasing Special Bins that by their very nature are rare, smaller-volume, high-quality intermittent releases, which can only be created in stellar vintages, allowing our other wines not to be short-changed or compromised. Our flagship wines – Grange, Bin 707, Yattarna – are rewardingly and intrinsically collectable. “Baby Grange”, Bin 389 Cabernet Shiraz, remains an affordable collectable – regularly and officially listed by media as the most cellared red wine in Australia.

Read more: Prince de Galles, Paris Review

LUX: Can a buzz about a wine among collectors happen unexpectedly, for example, after a particular auction sale or article, or a celebrity collecting it?

PG: Most definitely. The catalysts of the next big thing and early entry are what speculators across all collectables (and the stock market) try to ID and second-guess. Consolingly, the classics still deliver, but you pay for what you get. Courage, gut feel and risk-taking should be part of the collector’s cerebral toolkit. Celebrity equals awareness, not necessarily reward.

Highly collectable Penfolds Grange in the cellars at Magill Estate

LUX: Can a wine become too collectable, meaning it is only traded and stored, never consumed?

PG: I don’t think so. Ultimately, almost all wines are poured, albeit some unfortunately after their use-by. The more expensive, oftentimes the greater the deliberation. Having said that, many great wines are cellared for decades awaiting an optimal moment in time within the expected drinking window. And, only very occasionally, some wines from lesser vintages are retained for pure collection purposes only – to chronologically complete collection sets.

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At Penfolds Recorking Clinics, which we have hosted globally now for over 33 years, we witness first-hand the good, the bad and the ugly of collectability pursuits. Collectability and cellarability go hand in hand. So many collectors collect but don’t protect their investment by cellaring properly. And, not to forget, older, more fragile vintages don’t appreciate travel or movement, whether traded or not.

LUX: Which four Penfolds wines would you call out especially as collectors’ items and why?

PG: First, what is the current and available must-buy, smart-money, insider-buy Penfolds collectable – and a cult wine in the making? Without hesitation, the 2018 Penfolds Superblend 802-B Cabernet Shiraz. Why? All the “Y”s align.

Penfolds St Henri barrel hall, Magill Estate

Quality: very high. As an indicator, all its global scores are in the high 90s. A1-grade fruit, stylistically different to that of Grange or Bin 707, yet at a similar quality level. Rarity: of a significantly lower volume than our flagship, Grange. Not released every year, so no 2019, 2020 or 2021. French oak maturation only. Synergy: blending Cabernet Sauvignon and Shiraz is a time-proven magical Australian wine blend, one with a proven track record of high quality and cellarability. Symbolically: this 2018 vintage is the first release (always over-delivered). There will probably be only two to three releases per decade, if the weather gods oblige. Affordability: it’s not cheap, yet not too “silly” a price, AUD$900 (£461) per bottle.

Significant appreciation to be expected once collectors find out. Supply and demand will then drive secondary-market pricing. Don’t tell too many friends. The other three I would choose? Easy, deliberately across style and pricing: Grange, usually the older the vintage the better; St Henri, pick the right vintage; Bin 389, in most vintages buy cases, not bottles, and your children and friends will thank you.

A Penfolds vineyard. Almost uniquely among the world’s greats, Penfolds top wines are made from a blend of different terroirs, which can vary year on year; some are even made from a combination of vineyards on different continents

THE WINE COLLECTOR: Adam Smith

Based in Western Australia, Adam Smith has been collecting Penfolds wines for more than ten years

LUX: Did I hear right that you had your first wine aged 13 because, being Italian, your nonno and nonna would give you small glasses of red?

Adam Smith: Exactly, from the age of 13. From that age, every time we would go to see them I remember having a little red wine, and if we went for dinner somewhere or at a restaurant, they would pour me a half glass of red.

Read more: How art is remediating environmental and societal damage from overdevelopment

LUX: Always with food, right?

AS: That’s exactly right.

LUX: Let’s fast forward, how did you embark on your Penfolds collecting journey?

AS: I went down to the local bottle shop, grabbed a bottle of Penfolds, tried it and absolutely loved it. I think my wife and I were playing a game of chess that night. I ended up buying more. As the wine had just been released, the girl behind the counter said, “Look, we need to keep some back for the tasting night!”

Rare and desirable bottles at the Penfolds recorking clinic

LUX: Do you have in mind what the occasion would be for drinking a wine when you buy it for your collection?

AS: It’s not really about special occasions for me. Right now, whatever I am buying, I just try to drink one now and keep some to see how it evolves over time.

LUX: What do you enjoy about collecting wine?

AS: What I like about wine is that you can drink something that was made at a certain memorable point in the past. In 1998, for example, I was in my first year of high school and I am now drinking wine from that era. It’s the closest thing to time travel. I like to associate wine that I collect now with certain dates in my life. So 2011 was a pretty bad year for wine, but my wife and I got married that year, so I have a lot of wine from 2011.

LUX: I hear you have bought an enomatic, the wine dispenser that enables you to have just a glass, or even less, of a bottle, without it spoiling the bottle. It’s a fantastic idea.

A Penfolds vineyard in Adelaide Hills in Autumn

AS: Yes, I have eight spaces in mine. So I’ve had a Cabernet from the Napa Valley, and then another Cabernet from Western Australia, the Margaret River region – and from all over Australia. It’s fantastic, I must say. It’s the best thing I have ever bought.

LUX: Do you collect to drink or to sell?

AS: I am not necessarily trying to sell any. I am trying to build a cellar, and I do want to drink them. What I have been buying over the past few years – and I have stepped it up since I started building a cellar – I am planning on drinking those over the next five years plus. I like doing comparisons of vintages. I also want to do more tastings of the same wine in different vintages – vertical tastings.

LUX: What are the Penfolds bottles you are most looking forward to drinking?

AS: I have a special one coming up and that is the Grange ’85 in January, for my 40th. My wife’s is a couple of years later so that will be an ’88. Right now, I haven’t really drunk anything super precious. The ’98 is in there at the moment and the 2021, but nothing that I have collected for long enough that I’ve wanted to open yet.

‘You can tell it’s Penfolds’ – Adam Smith

LUX: Who do you share your wine with – does your wife have a glass?

AS: Yes, she does. She made the comment, “You can tell it’s Penfolds.” Regardless of what you are drinking, it has that thing about it [the “red stamp”, as it is called by the Penfolds winemakers].

LUX: What are the most precious bottles of Penfolds in your cellar? The Granges ’85 and ’88?

Read more: Ultima Collection Crans-Montana Review

AS: Yes, that’s right. I also have a couple of very old bottles. I have a couple of ’69s, ’70s and ’71s in there, which look like they’ve probably passed, and I’m not sure whether I should be drinking them or not.

LUX: You might need to check in Andrew Caillard’s book ‘Penfolds: The Rewards of Patience‘ for guidance on that.

AS: I certainly will!

The Rolex Day Date Eisenkiesel

THE WATCH COLLECTOR: Josh Srolovitz

Director of Trading for 1916 Company in Hong Kong, Josh Srolovitz started collecting watches in 2011

I see watches as a reflection of my personality, and in some cases they serve as reminders of significant milestones. One piece is my Rolex Day Date Ruby Dial, which I acquired to commemorate the birth of my daughter in the month of July, which is associated with a ruby birthstone.

I view my collection strictly as a passion project, not as an investment. Many of the watches I own may not go up in value, but if I truly love the watch itself this does not bother me. I base most of my purchases around aesthetics. However, there are some vintage and discontinued pieces whose rarity I find very attractive. Brand heritage is also an important factor to me.

De Bethune DB25 Starry Sky 1 watch, from the collection of Josh Srolovitz

I love the “hunt” for a watch. Finding a piece that I’ve been waiting a long time for is very rewarding. It helps me to appreciate the watch even more.

For collectors in general, the motivation to collect can come from a variety of factors. For example, it could be a watch they saw earlier in their lives that perhaps they were unable to acquire at that time, or chasing a long-time holy grail that they have dreamt of, or even a piece they saw in another collection that stuck with them. There are also collectors who are driven by hype, and what seems to be fashionable in the moment. However, in my experience with the most significant collectors, rarity, exclusivity and condition are the three motivating factors behind most of their collections.

Watch-collector social events are very important to me for building a sense of community and for meeting like- minded individuals. In fact, I have met some of my closest friends through my passion for watches.

Art collector Alia Al-Senussi

THE ART COLLECTOR: Alia Al-Senussi

Alia Al-Senussi is a leading global art collector and patron, and senior adviser to Art Basel and the Ministry of Culture of the Kingdom of Saudi Arabia

There are so many reasons why people collect. The most famous and fun stories revolve around those who have an insatiable desire to bring something home to their universe.

There are legendary collectors who come from families involved in the arts; others are exposed to the art world as they grow older. For people like me, collecting means you are supporting artists and the ecosystem of a cultural community.

At the beginning of my collecting life, I would often get asked what kind of collector I was. I would say, “Oh, I’m not really an art collector.” My best friend Abdullah Al-Turki, who is one of the best art collectors of our generation, corrected me and said, “That’s not true, you are a collector of art experiences.”

‘Kama Mama, Kama Binti (Like Mother Like Daughter)’, 1971-2008, by Hank Willis Thomas, from the collection of Alia Al-Senussi

My motivation is having pieces around me that remind me of people I’ve had wonderful interactions with. Those pieces could be objects, prints, editions or paintings; things that are meaningful to me. I am also interested in art as a catalyst for social change, and pieces that bring the world closer together.

Increasingly, I see collectors revolving their collections around a theme: for example, collections based on women, a geographical location, politics etc. This idea of collections that are centred in a moment is something you see more and more. You also have these legendary collectors who collect everything from old masters to contemporary and everything in between.

‘Suspended Together – Standing Doves’, 2012, by Manal Al Dowayan, from the collection of Alia Al-Senussi

The discovery of artists is definitely a factor for me. It’s about my enthusiasm for that person or institution. Nour Jaouda is a talented young artist from Libya who was featured in the Venice Biennale as the youngest artist there. Then she had a solo booth presentation at Art Basel just two months later and now has a foothold in the international art world. I had the honour of hosting a dinner and talk with her, bringing her together with the Tate curator and a room of major museum directors, curators and collectors. Now they have started collecting her. I was just part of a larger story, but of course all those things fit together in a really wonderful puzzle.

If someone was starting a collection, I would advise them to read, attend, meet. Read as much as you can in the art media and in LUX! Attend shows, openings and art fairs to see what you fancy. Meet people, because you will find someone who will be your art-world buddy, an artist who really speaks to you, or a gallery that understands you.

penfolds.com

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The entrance to Prince de Galles sits just steps away from the Champs-Élysées

Looking for chic, swankiness and glamour in the ultimate Parisian location? Check out the Prince de Galles, where even the breakfast makes you feel you are in a Brigitte Bardot movie

Despite, perhaps because of, the plethora of boutique hotels that have opened in the city over the years, glamour is still an essential element for us any stay in Paris.

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And for glamour, you really have to be in one address, the Avenue George V, surrounded by luxury brands and feeling that you are a resident in the most exclusive area of Paris, the cross-cross of luxury boulevards in the 8th Arrondisement, in between the Champs-Elysees and the river.

The reception to the luxury boutique hotel is an art deco design of white and black marble

And so it felt very appropriate checking in to the Prince des Galles, in the heart of the area, with lobby of art deco black and white marble, offset by taupe carpets, and sweeping staircase. Our room was that very rare thing, and utterly silent haven in the heart of Paris, looking out over the rooftops, with no traffic noise, yet somehow in the middle of all the action. It had everything you would expect: lavish sheets, bathroom swathed in marble, and something you didn’t, in its sense of peace and tranquility.

‘Glamour is still an essential element for us any stay in Paris’

One of the most delightful parts of our stay was our breakfast. This is Paris, after all, so to be ushered into the grand dining room and offered an à la carte breakfast was special enough: but to be surrounded by the decor of the 19.20 dining room was even more so. Deep leather chairs, dramatic and vivid artworks, and a superb Eggs Benedict set one up for the day in a slow food way.

Read more: How art is remediating environmental and societal damage from overdevelopment

All of this with the assured service of a top hotel from the Luxury Collection, at a price point reasonable for its level of luxury. Love it.

Prince de Galles Hotel

A luxury bedroom at Prince de Galles

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Daniel Grieder, CEO of Hugo Boss

Since 2021, Swiss entrepreneur Daniel Grieder has been applying his versatile talents to the helm of German fashion giant Hugo Boss, where he has doubled revenue. He talks to LUX about redefining the brand for a new generation.

“Hugo Boss is celebrating its 100th anniversary this year. Our goal is to put the company in a good position for the next 100 years.” No small words from Daniel Grieder. But then why would they be, coming from the man who, before joining Hugo Boss three years ago, increased net sales as CEO of Tommy Hilfiger from $3.3 billion to $4.2 billion over three years to 2018?

So far, Grieder is keeping his word with Hugo Boss, too. Even though, as he says in the brand’s latest performance report, we are acting in a world of “global macro uncertainty”, which dampened Hugo Boss’s sales in the second quarter of 2024, the company continues to gain market share.

Enter a few of the many statistics up Grieder’s designer sleeve: more Hugo Boss stores are open than ever before (1,418); revenue rose from €1.95 billion in 2020 to €4.2 billion in 2023. And potentially crediting the increase to lockdown is nullified by the figure being €1.32 billion above 2019, then the highest Hugo Boss revenue of the millennium.

Follow LUX on Instagram: @luxthemagazine

Let’s flick back a second to the German atelier that Boss started in a century ago. Hugo Ferdinand Boss drops out of school, does military service and works in a weaving mill. In 1908, he takes over the family trousseau shop. He creates his own company in 1924, making general clothing and later military uniforms. After the Second World War, the company is handed on to his son-in-law, Eugen Holy, and in 1969 to his sons Jochen and Uwe Holy, who will facilitate the route to the Hugo Boss we know today.By the 1950s, the company began to produce work clothing and had already added men’s suits to its programme.

In the 1970s the operation’s range adopted a new focus: high-end men’s suits made of high- quality material, anchored in the suave understatement that would bring decades of success and remains an imprint of the company. Now, Hugo Boss was a leading global brand. The following decades saw it attract a breadth of demographics with product that ranged from men’s, women’s and children’s wear to eyewear, watches and perfume.

Supermodel and Boss brand ambassador Gisele Bündchen in the Boss A/W24 campaign

In 2022 under Grieder, the company refocused to appeal to a younger, more global audience by leading on a two-brand strategy of Hugo and Boss, both with a 24/7 approach and offering businesswear as well as leisurewear, but addressing different target groups. Grieder has amplified the dual-branded identity through “emotional storytelling and comprehensive brand experiences”. He has gathered celebrity brand ambassadors, including Italian tennis player Matteo Berrettini, Brazilian supermodel Gisele Bündchen and Senegalese-born TikTok star Khaby Lame.

And his vast omnichannel campaign hinges on two simple hashtags: #BeYourOwnBoss addresses Millennials with the latest pieces that sit comfortably on the historical cornerstones of the brand, from the biker jacket and a contemporary take on the double-breasted jacket to the neutral shades of straight trousers and polo tops (with a zing of edge from transparent, collared jerseys).

#HugoYourWay speaks to Gen Z with flashes of bolder colours and edgier styles in lines that focus on leisurewear and clothes for all occasions. Think the recent Hugo genderless collaboration with Istanbul streetwear label Les Benjamins: straight, boxy cuts in leisurewear that leans towards the street, but with signature poise.

Boss brand ambassador and tennis player Matteo Berrettini at the Boss Open 2024, in pieces from the Boss x Matteo Berrettini collection

This, says Grieder, is what matters to the modern customer: “to be addressed by one brand in different areas of life”. Indeed, areas of his own life seem to perfectly straddle the company’s brand Boss. “I am more of a classic type,” he divulges of his own tastes. On the weekend that means jeans, a polo shirt, blue sweater and sneakers. At work it’s a jacket or suit. “Our new performance suit, of course,” he says, with a loyal nod to the new Boss stretch-fabric suits in light green, grey, khaki and blue.

As an active man, seen often on the Austrian slopes, the brand’s concurrent focus on sport and leisurewear seems suited to him as much as to the majority market. It is reflected in the various collaborations with sporting events, epitomising pared-back chic and quiet confidence – for instance with Formula 1, the Hahnenkamm ski races and the branded ATP tennis tournament, Boss Open.

A look from the Boss “Out of Office” S/S25 runway show in Milan

A look from the Boss “Out of Office” S/S25 runway show in Milan

“We must revolutionise the fashion industry to minimise its negative impact on the environment. No planet, no fashion”

Grieder is the type to do this. To take two major fashion brands, belt them up and shoot them back into the spotlight, both within a decade – and still be up before anyone else in the morning for a game of tennis or a shift down the slopes.

“I discovered my desire for entrepreneurship at an early age,” he says, unsurprisingly, judging from his steely confidence and steady eye. “While still at school I had an ice-cream stand, sold stones from the mountains to tourists, was a soap importer and even sold cars for some time.”

Read next: Stephan Winkelmann on Lamborghini

How did his determined gaze turn to fashion? “Growing up, people asked if I was one of the Grieders from Bongénie Grieder department stores in Switzerland. No, I am not. But I started thinking that fashion was something I could do,” he says. He got a holiday job at a fashion shop, started a commercial apprenticeship at the Globus department store in Zurich, studied economics and his decision was made. The first company he founded specialised in buying and selling leather jackets from Turkey.

Later, he says, “I represented brands such as Pepe Jeans, Stone Island, CP Company, Belstaff and finally established Tommy Hilfiger in the European market before I joined this company.” That is the DNA of a CEO: blasé but hardworking. “I love challenges,” he says, with the glint of a professional sportsperson. “Athletes in particular have this special mindset I admire.” Grieder’s star-studded catwalk through the fashion business comes not from a competitive drive, he claims, but from the philosophy that “what is good enough today might not be good enough tomorrow: that is what drives and motivates me”.

Racing driver and Boss brand ambassador Fernando Alonso in the A/W24 Boss x Aston Martin capsule collection campaign

Setting his mind to Hugo Boss in 2021, he created the “Claim 5” strategy, a comprehensive five-pillar plan of brand identity, product, digitalisation, omnichannel presence and growth. “Our brands had lost relevance over the years,” he says. So he set himself the task to make Hugo Boss one of the top 100 global brands. And attracting those “new, younger consumers” from Millennials to Gen Z is at the crux of it.

Hugo x Imaginary Ones, a collaboration with Web 3.0 for mental- health awareness

“You always have to keep your finger on the pulse,” he says of his fashion inspirations. And “always”, for Grieder, means not just at work but at home, over casual conversations with his two sons or in front of the TV. It was by stumbling across a Netflix documentary about a particular dark-trousered, dapper ex-England footballer with a Boss-like muted colour palette, seen often in a biker jacket, rugged boots and a masculine edge, that he found a match. “Beckham is a true Boss,” says Grieder. “He is much more than a former soccer player.

He is an icon in the world of sport and also fashion. He is a successful entrepreneur as well as a dedicated family man.” Grieder has made Beckham his latest brand partner for Boss. Their global, multi- year design collaboration begins in spring/ summer 2025.

“What is good enough today, might not be good enough tomorrow: That is what drives and motivates me”

Football icon and Boss brand partner David Beckham, in the Boss A/W24 collection campaign

But with a presence in 130 countries, each with regions of varying taste, how does one keep communication sufficient, eyes peeled, finger on so many pulses? “We want to exploit growth opportunities in local markets by targeting regional needs,” says Grieder. Colour-coded lines, demarcating different styles, provide tracking opportunities for various strands of Hugo Boss.

See Boss Black (iconic tailoring), Boss Orange (casual), Boss Green (athleisure) and now Boss Camel (tailored luxury, including made to measure), as well as Hugo Red (contemporary tailoring and casualwear) and Hugo Blue (denim-based). These weave together different aspects of the brand’s global story, and harness the fact that brand recognition reportedly improves by up to 80 per cent with colour-related schemes. China, for instance, is particularly keen on Boss Camel.

If, in Grieder’s words, “the most exciting time in fashion is right now”, what can we look out for in Hugo Boss’s future? Unsurprisingly, Hugo Boss, as with all other major brands, “must revolutionise the fashion industry to minimise its negative impact on the environment.

No planet, no fashion.” The brand looks to respect the environment and “as a premium supplier, sustainability is a matter of course”. How to do this? Grieder notes the Digital Campus created by Hugo Boss to utilise data analytics and more.

A look from the Boss “Out of Office” S/S25 catwalk show.

A look from the Boss “Out of Office” S/S25 catwalk show

In fact, sustainability is not only a necessity but a style point. “Innovation is a key driver of sustainability, which is why innovation and sustainability go hand in hand for us,” he says. “We love fashion. We change fashion.” According to Grieder, Hugo Boss will soar both in terms of sustainability and style to become “the leading premium tech-driven fashion platform worldwide”.

“Innovation is a key driver of sustainability, which is why innovation and sustainability go hand in hand for us”

It remains to be seen whether Hugo Boss will fulfil its goal of reducing CO2 emissions by at least 50 per cent by 2030 compared to 2019, and achieving net zero by 2050. But for now, there’s no wavering to a character, force or closing comment such as Grieder’s: ‘I am absolutely convinced,” he concludes, “that this will perfectly set us up for the future.”

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Reading time: 9 min

A soirée to celebrate Cristal and art in London. Left to right: Lorna Mourad, Jennifer Chamandi Boghossian, Rob Boghossian, Ege Gürmeriçliler, Darius Sanai, Laurent Ganem, Maria Sukkar, Frédéric Rouzaud, Anne-Pierre d’Albis-Ganem, Nadim Mourad, Richard Billett, Samantha Welsh and Malek Sukkar, with an Anish Kapoor artwork on the wall

Louis Roederer, maker of Cristal and other celebrated champagnes, has long led the way in environmentally conscious winemaking, using biodynamic and organic techniques. CEO Frédéric Rouzaud has also brought his passion for art photography to the fore with a series of initiatives supporting photographers around related themes. Now the champagne house champions massal selection, an expensive way of allowing natural selection to create diversity in the vineyard and complexity of taste. LUX visits the vineyards in France and speaks with Chief Winemaker Jean-Baptiste Lécaillon about how working with nature is the hardest – and most rewarding – labour of all.

Frédéric Rouzaud, CEO of Cristal maker Louis Roederer, commissioned artistic photographer Jean-Charles Gutner to create a series of images based on the leaves produced by grapevines of different varieties grown using massal selection

A Conversation with Jean-Baptiste Lécaillon of Louis Roederer about how working with nature stimulates biodiversity, conserves the soil – and makes the greatest wines

LUX: How long does it take someone to gain the necessary expertise to identify the best vines in a vineyard and to curate a massal selection?

Jean-Baptiste Lécaillon: It’s not one person only. Louis Roederer’s In Vinifera Aeternitas project was launched in 2002 and includes a group of experts: Professor Jean-Michel Boursiquot from Montpellier, probably the most talented ampelograph [one who identifies and classifies grapevines] in the world; Lilian Bérillon – a nursery owner specialising in massal selection of the best domaines all over the world – and his team; and our own vineyard team.

Jean-Charles Gutner, creator of Solar Panel, Jean-Baptiste Lécaillon and Frédéric Rouzaud

LUX: I read that for massal selection at Louis Roederer, you say the best bunches are small or medium in size, weighing 100g to 110g and of perfect quality. What makes a perfect grape?

JBL: ’Perfect quality’ does need explanation. In our quest, it means a combination of clean fruit – disease-free through thicker skins and good aeration – and homogeneous phenolic ripeness in berries of the same cluster, avoiding green or overripe berries that could create vegetal or cooked-fruit notes.

LUX: Louis Roederer is also opening up new possibilities by growing young vines without American rootstocks, that is, pre-phylloxera style [phylloxera destroyed many European vineyards from the 19th century onwards, a crisis combatted by grafting European vines onto phylloxera-tolerant American vine rootstock]. How is it working?

JBL: So far we must admit we have had little success in this experiment. Most of the vines have now been infected by phylloxera. Only very few are still alive. We follow them to see if they are resilient or not. We are also working on different clones of rootstocks.

A leaf from a Chardonnay vine from Avize, a village in the Cotes des Blancs, the hillsides renowned for producing the greatest Chardonnay wine in the region

LUX: What do you find most exciting about massal selection?

JBL: The most exciting thing is to witness the huge biodiversity within Pinot Noir. There can be up to 10-15 days difference in the ripening process, which is amazing.

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LUX: You have said of massal selection that you had to regenerate the plant material and recover some of the singularity of the Louis Roederer style through massal selection. Does this affect the taste?

JBL: The first goal is to regenerate virus-free vines for a strong ecosystem, through the diversity of individual vines replanted with pools of a minimum of 30 individuals. The second goal is to protect our unique legacy: we have chosen our oldest plots of vines, pre-1960, to select our massal vines. Those vines now make Cristal rosé, but before 1974 they were the heart of our Cristal domaine from its inception in 1876. Therefore, we believe that by regenerating this material, we are also on a crusade in the name of taste.

Louis Roederer uses sustainable practices, including massal selection, to work with nature and achieve the most accurate expression of its unique terroirs

LUX: In massal selection, the talk is of going back in time, to recultivating the uniqueness that wine used to have. But has wine always tasted the same, or did it taste different, say, in the pre-phylloxera era, and if so, how?

JBL: The idea is not to go back in time. Our In Vinifera Aeternitas project aims to restore the diversity of vines, which will reinforce the natural resilience of our production and ecosystem.

LUX: How does Louis Roederer’s process of massal selection differ to competitors?

JBL: It is our own unique legacy, therefore it cannot be compared to anyone else’s. We have also elevated the idea in an artistic dimension, such as when the photographer Jean-Charles Gutner teamed up with the In Vinifera Aeternitas project to craft unique pictures of the biodiversity of our ecosystem in his Solar Panel series.

The making of leaf images, from the Solar Panel series, by Jean-Charles Gutner

LUX: How has massal selection changed Louis Roederer’s character as a company?

JBL: It has not changed our character, which has always been to secure our family-owned business for the next generations. In Vinifera Aeternitas is one part – the biodiversity and taste part – of a higher ambition, which includes many other aspects of permaculture, like reducing our footprint through responsible soil, water and energy use. Hence our family motto: “hand in hand with nature”.

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LUX: What led the Rouzaud family and yourself towards a climate-conscious future?

JBL: The key was probably our meeting with Bill Mollisson, the father of permaculture, in Tasmania in early 1990s. It became obvious to all of us that we had to secure the future by introducing the philosophy of permaculture – working organically with nature not against it, considering craftsmanship and social aspect, biodiversity, low energy use, rotation, the balance of tradition and innovation.

“Perfect quality” black grapes from the vineyards are used for propagation in Louis Roederer’s massal selection

LUX: What is the future of massal selection? Will it ever take over from clonal selection, which ensures uniformity and consistent quality?

JBL: Unlike clonal selection, our massal selection is a permanent quest. Every year we must reselect new individual plants and add some individuals of different origins for propagation. It must be a permanent process if you want to restore biodiversity, as vines adapt and mutate under abiotic factors, such as water and soil.

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LUX: What is the future of massal selection? Will it ever take over from clonal selection, which ensures uniformity and consistent quality?

JBL: Unlike clonal selection, our massal selection is a permanent quest. Every year we must reselect new individual plants and add some individuals of different origins for propagation. It must be a permanent process if you want to restore biodiversity, as vines adapt and mutate under abiotic factors, such as water and soil.

Gutner’s leaf images champion the biodiversity of the Louis Roederer vines

LUX: How many people are involved with massal selection at Louis Roederer?

JBL: All our vineyard team is involved: 50 to 60 people!

LUX: Does massal selection make economic, as well as environmental sense?

JBL: Not in the short term, but we are family owned and take all our decisions for the long term.

Interview by Isabella Fergusson

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