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Edoardo Monti photographed with a 1750 fresco at Palazzo Monti

Since Edoardo Monti started his Palazzo Monti artists’ residency in Brescia, northern Italy, in 2017, it has evolved to become one of the most tasteful, sophisticated and respected artist residencies in the world, supported by patrons such as local hero Umberta Gnutti Beretta. Many of the more than 250 young artists he has featured have since exploded on to the global art scene, and collectors keep a careful watch. As the Palazzo opens its third space this year, in a Brescia bunker, Monti tells LUX the story so far, and two key collectors comment on what makes it important

“I started the Palazzo Monti Residency quite instinctively – I wanted to live surrounded by artists, to create a space where they could feel free, supported and genuinely at home while working.

An artists’ living room at the Palazzo Monti with Slick Submissions, 2018, by Bea Bonafini

In terms of discovering the artists for the residency, it’s mutual – we find each other. I am drawn to artists with a certain sensitivity and urgency, something you feel immediately, before you can even explain it.

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Often, the relationship starts quite intuitively, but it develops over time into something much more layered. Many of the artists who pass through Palazzo Monti don’t just come for a residency – they stay connected, come back or evolve with us in different ways.

The palazzo’s nearby second space, Fertile, with La cena del cacciatore, 2024, by Luca Ceccherini, and Then Glut Thy Sorrow on a Morning Rose, 2022, by Delphine Hennelly

There’s a sense of continuity that becomes very important. For example, there have been artists who arrived at an early stage of their practice, using the residency as a moment of experimentation, and then returned later with a much more defined body of work, sometimes even exhibiting in the same spaces where they started. In other cases, collaborations have extended beyond Brescia, through exhibitions, introductions to collectors or simply ongoing dialogue.

In 50 years time, I would like history to say that Palazzo Monti was a place where artists felt seen early on, where important practices were nurtured quietly and where meaningful relationships began and lasted over time.”

– Edoardo Monti

The programme’s Fertile space with Nobody But You/Nobody’s Gonna Fuck Me Like Me, 2019, by Sophie Spedding

“Palazzo Monti stands out for its ability to nurture artists at a pivotal stage in their careers, thanks to Edoardo’s thoughtful and hands-on approach. The residency brings forward compelling practices. I am glad to have works by Konstantina Krikzoni, Georg Wilson, Natalia Gonzalez Martin, Anna Ruth, Charlotte Edey, Diane Dal-Pra, Lindsey Bull and Nour El Saleh in my collection, discovered through the programme”

Read more: Artists through the eye of Patrizia Sandretto Re Rebaudengo

– Francesca Milani, collector and patron

The new gallery space Bundervik, set in a former air-raid shelter

“I see Edoardo Monti’s residency at Palazzo Monti as a vital platform for emerging artists, fostering meaningful dialogue and experimentation. His vision creates a rare balance between support and freedom. I have followed several artists from the programme closely and I am pleased to have work by Sara Birns, Oxana Tregubova, Konstantina Krikzoni and others in my collection”

– Warly Tomei, Venice-based collector and patron

palazzomonti.org

Reem El Roubi and Amir Daoud Abdellatif with 5.63° N, 0.00° E, 2025, by El Anatsui

Sudanese by birth, Reem El Roubi has become an influential and discerning advocate for African and West Asian art, and holds significant positions in some of the world’s most distinguished art institutions. She speaks to LUX about the importance of supporting culture

LUX: Why do you support artists?

Reem El Roubi: My husband Amir [Daoud Abdellatif] and I met many artists over the years, and see the art world as an ecosystem that fosters artists’ creativity, where collectors and patrons play a big role.

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LUX: Do you consider yourself a patron of the arts and when did you realise that, if so?

RER: When I joined the Tate Africa Acquisitions Committee and became a patron of the Louvre Abu Dhabi and Sharjah Art Foundation in the UAE, though I have always supported artists.

Untitled, 1998, by Ahmed Shibrain. From the collection of Reem El Roubi and Amir Daoud Abdellatif

LUX: How can individuals best support artists in building their own collections?

RER: By investing in young, emerging and mid-career artists, as well as established ones. It’s powerful to see such artworks included alongside each other in private collections.

LUX: What mistakes have you made?

RER: Impulse buying without research and understanding of the artist’s practice.

LUX: African artists do not have the same infrastructure behind them as those from Europe or the US. Will this change?

RER: There are more and more galleries, institutions and foundations supporting artists from the African continent. Hopefully, that will lead to the development of an ecosystem to match that in Europe and the US. Artists such as El Anatsui and William Kentridge have shown the presence of such infrastructure.

LUX: Is there something called “African art” or is the continent too diverse for this term?

Figures from Procession, 1999, by William Kentridge.
From the collection of Reem El Roubi and Amir Daoud Abdellatif

RER: I do feel it is very difficult to generalise African Art. There is a clear distinction between each country with the richness of the culture, history and tribes. For example, I am a Sudanese woman who is an African and Arab.

LUX: What role has your committee at Tate played in supporting artists?

RER: Tate’s remits enable it to play a major role through building the national collection and bringing artists’ work to public attention. Tates Modern, Britain, St Ives and Liverpool have extensive partnerships and a global network.

Read more:

Read more: Photography in conversation with the new American West

LUX: What Sudanese artists do you admire?

RER: Kamala Ibrahim Ishag, who founded the Khartoum School in the 1960s alongside Ibrahim El-Salahi and Ahmed Shibrain. Kamala’s works focus on feminism, grief and zar rituals. Other significant artists include Mohamed Otaybi and Hussein Shariffe.

LUX: Government funding is in crisis. Are artists suffering?

Untitled, c 1964, by Ibrahim El-Salahi. From the collection of Reem El Roubi and Amir Daoud Abdellatif

RER: Yes, which is why art patronage has become increasingly important.

LUX: Will the Gulf ever have the institutional infrastructure of Europe or the US?

RER: This can already be seen in the UAE and Qatar. The Gulf has attracted top global and regional experts to form a unique relationship in creating institutional infrastructure. The success is also through the funding.

LUX: How is supporting artists best done?

RER: Institutions play a vital role in artists’ market valuation and the recognition of artists’ practices; individuals raise awareness and foster artists’ creativity through investments.

LUX: Do you have a strategy, or a dream?

RER: I see my role as more custodian than collector. I will continue my passion and see where this journey takes us.

tate.org.uk

louvreabudhabi.ae

sharjahart.org

Maryam Eisler and Alexei Riboud, whose photographs were at the heart of the exhibition The New American West: Photography in Conversation at 10 Corso Como, Milan

Myth, memory and a plurality of perspectives came together at 10 Corso Como, Milan, at events to celebrate the opening of The New American West: Photography in Conversation. The exhibition of photographs by Maryam Eisler and Alexei Riboud was presented alongside classic images of the genre by Paul Strand, Diane Arbus, Lee Friedlander and more, revealing – across ever-intriguing evenings – the American West not as a single narrative, but an evolving and ever-intriguing idea

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Installation view of photographs by Alexei Riboud

“Presenting The New American West: Photography in Conversation at 10 Corso Como was truly transformative. With an amazing curatorial and architectural team, the show was designed like a solar system that placed the contemporary dialogue – between my and Alexei [Riboud]’s work – at its heart.

This arrangement radiated out into the art-historical context, giving fresh relevance to the story of the American West and helping viewers understand that unfolding dialogue between past and present, not to mention the ever-evolving narrative of the West.”

– Maryam Eisler, photographer

Howard Greenberg, Maryam Eisler, Alessio de Navasques, Tiziana Fausti, Gianluca Borghi, Carrie Scott and Alexei Riboud at the opening of The New American West: Photography in Conversation

“‘The New American West: Photography in Conversation’ has landed at the right spot: 10 Corso Como is a place of conversation; a global dialogue across time and among design, fashion, books and photography.

The American West is at a crossroads of cultures and populations and so is this historic concept store and space. The American West is a place of meditation and similarly 10 Corso Como invites you to reflect on global creation and to assess bridges between the arts”

– Alexei Riboud, photographer

Parker Calvert and Clayton Calvert with a photograph by Maryam Eisler

“This is the version of the exhibition I always dreamed we could launch. Alessio [de Navasques, co-curator] and Howard [Greenberg, co-curator] embraced it with such generosity and collaboration, and together we made it stronger.

Read more: Artists through the eye of Patrizia Sandretto Re Rebaudengo

At 10 Corso Como the photographs finally breathe – the story of the American West unfolding across the walls”

– Carrie Scott, co-curator, ‘The New American West: Photography in Conversation’

Harsch Kumar Sood, Carrie Scott, Robert Popper pictured at the opening

“Bringing together photographers across generations has been an exceptional experience, rethinking the West as a lens on what America means today.

Working with Howard Greenberg’s archive was a true honour, and engaging with Alexei and Maryam’s contemporary perspectives has been equally rewarding. I’m genuinely pleased with both the result and its reception.”

– Alessio de Navasques, co-curator, ‘The New American West: Photography in Conversation’

maryameisler.com

alexeiriboud.com

Can and Sevda Elgiz, who have created the first private contemporary art museum in Turkey

Sevda and Can Elgiz are the prime philanthropists of the Istanbul contemporary art world, pioneers who, since 2001, have taken their private collection public via their eponymous private museum. Here, they tell LUX about supporting Turkish artists, and showing Turkish art to the world

LUX: Are you philanthropists, or collectors, or both?

Sevda Elgiz: We began our journey as collectors. Over time, we realised that supporting artists also requires a philanthropic commitment. Today, we see ourselves as both.

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LUX: Can, you come from a family with a significant background in art and culture. How has this affected your desire to do what you do?

Can Elgiz: As an architect, I believe that contemporary art is a part of architecture. My family has origins in Lesvos island, where it is said that my great-grandfather was also a philanthropist in his time. In honour of his memory, we organised exhibitions there at the Municipal Gallery of Mytilene.

A portrait of Sevda Elgiz at the Elgiz Museum

LUX: How does what you do support artists and how do you feel when you see the effects?

SE: In our space, which is open to the public as a private-collection museum, we give visibility to artists. We show both local and international artists with equal importance. One of our most significant initiatives is the open call, which we announce every year for sculptors to exhibit on our terrace, where large-scale works find a rare platform.

LUX: Is private patronage always essential for artists?

SE: Definitely. Artists need to be properly exhibited in national and international shows. They need catalogues, beautiful artist books and organised talks that help them become recognised.

LUX: How different is it supporting sculpture, and what are the complexities?

SE: Since we support large-scale sculptures, we face logistical and exhibiting difficulties. We can only exhibit around 30 sculptures at a time, and these are selected by a jury. We regret not being able to include many of them.

Sevda and Can Elgiz amongst the collection

LUX: Do you ever work with other art philanthropists?

SE: There are few non-profit art institutions that act as philanthropists. The major one is Lucien Arkas. He is a successful businessman from Izmır and has a wide collection of art, glass, sculpture, carpets and so on, and he has made museums in Izmir to share these with the public.

We did an exchange of our collections and exhibited them in our respective museums. That was a great project – and is to be continued in future. With T-One Association, of which I am a co-founder, we send young artists for residency and educational courses abroad.

Read more: Artists through the eye of Patrizia Sandretto Re Rebaudengo

Recently we also did a collaboration with Alejandra Castro Rioseco’s MIA Collection to support women artists. We have around 150 friends and benefactors of Elgiz Museum who support our projects, and we extend our resources to art students.

LUX: Do you still acquire and collect and, if so, what is your focus?

SE: A collection never seems complete. Contemporary art collections are eclectic and reflect the inner world of the collector. Rather than a focus, our collection is guided by personal emotions.

Can Elgiz on the terrace, where sculptors have the opportunity to exhibit their large-scale work

LUX: What is your relationship with museums and institutions in Turkey and globally?

SE: Over the past 25 years, we have organised significant exhibitions by borrowing important works from major museums abroad, and we have also supported Turkish artists to exhibit internationally. The most significant one was a solo exhibition of Abdurrahman Öztoprak at Ca’Pesaro museum in Venice in 2008.

LUX: Are Turkish artists under-recognised locally and also internationally?

SE: We have many talented artists. Thanks to the Istanbul Biennial, as well as the growing number of foundations and museums, Turkish artists are gaining more recognition.

LUX: Do you feel you have made a significant difference – and how?

SE: We believe we have made a meaningful contribution by dedicating our terrace as a consistent platform for sculptors to present their work to the public.

Can Elgiz at the Permanent Collection, with works by Turkish and international artists

LUX: What has been your greatest challenge?

SE: Converting our contemporary art collection into a private museum open to the public was a challenge, when such initiatives were rare in Turkey. We think this has inspired other collectors to engage with contemporary art and open their collections to the public.

Read more: Mercedes-Maybach S-Class Review

Today, we are extremely happy when we see children and students coming to our museum and making use of our library, Archvarium.

LUX: What do you plan next?

SE: Our main commitment will be to support sculptors, which remains a vital part of our programme. We hope for a world shaped by peace, so that people can continue collecting, sharing and celebrating a passion for art.

elgizmuseum.org

Patrizia Sandretto Re Rebaudengo with We are the Revolution, 2000, by Maurizio Cattelan
, from her own collection

One of the world’s leading art philanthropists and patrons, Turin-based Patrizia Sandretto Re Rebaudengo is a leading light of Italian contemporary art, Here, she shares the inside track on six artists who have caught her eye this year

Benni Bosetto (B. 1987, Merate, Italy)

With a practice ranging from drawing and sculpture to installation and performance, Benni Bosetto is one of the Italian artists I have been following with the most interest and I have also collected her works. I believe her research around the theme of the body, explored from an original perspective, is attuned to the current global tendencies.

Saturday Total Eclipse, 2021, by Benni Bosetto

Jem Perucchini (B. 1995, Tekeze, Ethiopia)

The works of Jem Perucchini, an Italian artist born in Ethiopia whose first institutional solo exhibition I presented at the Fondazione Sandretto Re Rebaudengo in 2025, harmoniously combine references to the Renaissance and the 20th century, with Byzantine influences derived from his Ethiopian origins.

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I am fascinated by the way his paintings evoke a spirituality that draws on classical and ancient sources, interpreting them from a contemporary perspective.

Anemone (The Letter), 2024, by Jem Perucchini

Giulia Cenci (B. 1988, Cortona, Italy)

Giulia Cenci is one of the young Italian artists who have received considerable international acclaim in recent years, having exhibited at institutions such as the Venice Biennale, the High Line in New York and Mudam Luxembourg.

In her work she innovates the language of sculpture, mixing recycled materials with dust, resins or aluminium and often working on impressive site-specific projects. I have supported her practice by co-producing her installation for the 59th Venice Biennale in 2022 and acquiring works for my collection.

Scalata, 2021-2022, by Giulia Cenci

Pol Taburet (B. 1997, Paris, France)

Among the stars of a new generation of painters, Pol Taburet is a French artist of Guadeloupean origin who has captured global attention with his paintings populated by timeless figures.

Read more: Mercedes-Maybach S-Class Review

I was so immediately impressed by his powerful imagery – a combination of influences from Caribbean traditions, classical Western painting and contemporary culture – that I organised an exhibition of his work with Fundación Sandretto Re Rebaudengo Madrid at the Pabellón de los Hexágonos, curated by Hans Ulrich Obrist.

Desire and Stones, 2025, by Pol Taburet

Xin Liu (B. 1991, Xinjiang, China)

A Chinese artist and engineer, Xin Liu presents a new exhibition at the Fondazione Sandretto Re Rebaudengo this spring, in collaboration with K11 Art Hong Kong. I am interested in her practice because of its connection with ecology and sustainability.

Experimenting with hi-tech materials, she produces incredible sculptures that transform over time by activating chemical process or biodegradation.

The Permanent and Insatiable, 2025, by Xin Liu, installation view, Moody Center for the Arts, Houston

Adji Dieye (B. 1991, Milan, Italy)

The Italian Senegalese artist Adji Dieye investigates the founding narratives of nation states and their current influence on personal and collective identities. For me, the strength of her work lies in its political, research-based background and in her combination of photography and sculpture.

Read more: Four Seasons Hotel Istanbul at Sultanahmet Review

She prints images on fabric, creating installations that reflect on colonial and postcolonial history. The Fondazione Sandretto Re Rebaudengo will be holding a solo exhibition of Dieye’s work in September 2026, in collaboration with Associazione Genesi.

From Culture Lost and Learned by Heart, 2021, by Adji Dieye, installation view, C/O Berlin

Works can be viewed through fsrr.org

LUX Correspondent Annie Preston with the Mercedes-Maybach S-class

LUX’s Annie Preston swaps her chic little Mini for 5.3 meters of rolling serenity in the form of a Mercedes-Maybach S-class

I drive a Mini convertible. It is small, it is nippy, it is the sort of car you can park anywhere in London if you squint hard enough and believe in yourself. So, when I was invited to the media launch of the new Mercedes-Maybach S-Class, I felt a bit like a Shetland pony owner being handed the reins of a Grand National winner. What, exactly, was I meant to do with all this car?

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The answer, as it turns out, is very little, and that is precisely the point. The Maybach asks you to occupy it. Sliding into the rear cabin for the first time, doors closing themselves with a soft, ceremonial hush, I understood immediately that this was not a car built for me to do anything to it. It was built for it to do things for me.

The Mercedes-Maybach S 680 runs on a V-eight-cylinder engine, producing 450 kilowatts and 850 newton metres

Which brings me to the horsepower, because one must be responsible. Under the bonnet of the range-topping Mercedes-Maybach S 680 sits a newly evolved V-eight-cylinder engine producing 450 kilowatts and 850 newton metres plus 205 newton metres, numbers that mean, in practice, that this cocoon of calm, roughly the weight of a small elephant, can still put a smug little Porsche in its mirrors if the mood takes it.

There is even, in selected markets, a V12 still on offer for those who consider eight cylinders a personal insult. My Mini, for context, has four cylinders and an opinion about speed bumps. The Maybach simply does not acknowledge that speed bumps exist.

LUX correspondent Annie Preston with the Mercedes-Maybach S 680

The launch took place along the rolling hills of the Côte d’Azur, which felt right for a car that seems to regard tarmac as more of a polite suggestion than a surface. There was a moment, somewhere between one sun-soaked bend and the next, where the road dipped, and the Maybach simply absorbed it, not so much driving as gliding, the faintest bounce underneath us like a boat easing over a gentle swell rather than a car meeting the road at all. I will say nothing else of the day itself, other than it involved a great deal of sitting very still, gliding along as if on water, and being thoroughly content about it.

Read more: A trip to D Maris Bay

Inside, the Maybach cocooning effect, Mercedes’ own term, and one I now use unprompted in conversation, is achieved through a small orchestra of materials. There is newly available leather-free upholstery, including a high-grade “Mirville” textile, paired with deep white piping and open quilted diamond stitching, which felt suspiciously like sitting inside a very expensive cloud.

The interior of the Mercedes-Maybach S 680 is described by Mercedes as “cocooning”

Open-pore oak trims the centre console; the rear seats come with their own climate zones, their own screens, their own small kingdom of buttons, which I did not touch for fear of accidentally ejecting myself. Silver-plated Robbe & Berking champagne flutes sit in bespoke holders behind the rear armrest, kept perfectly chilled by a dedicated refrigerated compartment, a detail so unnecessary, so gloriously over-engineered, that I found myself rather moved by it.

Ambient lighting shifts through 199 LEDs and 64 individually selectable colours, including a rose-gold hue that appears, rather charmingly, to have been invented specifically to flatter the Maybach badge on the steering wheel. The new MBUX Superscreen glows beneath the dash like something from a very tasteful spaceship, and the whole cabin hums with the sense that someone, somewhere, has thought about this rather harder than is strictly necessary, which, in the world of Maybach, is rather the entire point.

Annie Preston took the Mercedes-Maybach S 680 for the ultimate ride through the hills of Côte d’Azur

This is a throne room on wheels, endlessly considerate of the person sitting in the back, that our readers will always find themselves in, whether gliding to a gallery opening or being delivered, unhurried and unruffled, to dinner. I was simply testing it out on their behalf.

Read more: Linder through the highball glass

I may not be trading in my Mini anytime soon. But I will admit that reversing out of the car park afterwards, back to my small, cheerful convertible, felt for one brief moment rather like stepping out of a Luxury hotel suite and back into a rather charming tent.

mercedes-benz.co.uk

mercedes-maybach.com

The airy and historic lobby area

The majestic Four Seasons Istanbul in Sultanahmet is a quiet sanctuary shouldered by the city’s historic marvels. Darius Sanai checks in

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Those who have been to Istanbul, presumably including the original Byzantine and Islamic conquerors, will have noted that, despite its many undoubted wonders and thrills, this is not an easy city to navigate. The modern city, in any case, sprawls on two sides of what is basically a sea, and each side itself is split into distinct and distant areas of interest. A fascinating city it certainly is, a walkable one it is not.

Which is why it was such a pleasure, privilege and surprise to stay at the Four Seasons Hotel, Istanbul at Sultanahmet. Slightly unbelievably, this hotel is situated in a palatial building literally next door to the celebrated Hagia Sophia mosque (until 700 years ago a Byzantine church), the Blue Mosque and Topkapi Palace, the three greatest and most unmissable sights in what was once Constantinople. This is, in fact, the only truly walkable area of Istanbul. It is so close to these landmarks that you could easily zip wire into any of them, although the security officers patrolling the area would probably have something to say about that.

The palatial exterior of the Four Seasons Hotel, Istanbul at Sultanahmet

Arriving at the Four Seasons Sultanahmet from the hub of the city is an utterly tranquil experience. It is a boutique hotel, and you are greeted by your personal receptionist and taken up to your suite to sign in, via a delicate garden courtyard with plenty of shelter from the summer sun. Our suite had views over the courtyard to the tops of a few historic buildings nearby. There was not a sound apart from the birds.

Read more: A trip to D Maris Bay

The interiors of this palazzo (part of it was once a prison, although you would never guess) are artfully done, with clusters of paintings and prints along the corridors. It feels as if you are in the home of an aristocrat. Downstairs, the spa is probably the most pleasant luxury hammam experience in the world. A hammam, an old Turkish experience combining elements of Roman spa baths and much else, is always an invigorating experience but not always a luxurious one. Here, it is both, as you have your own wet solarium to yourself where you lie on a warm marble bed and are scrubbed, washed, exfoliated and splashed by your hammamiste. Much more involving and, we thought, relaxing than any regular spa experience.

The hotel’s bi-level Beyzade suite

The restaurant, Avlu, is delightfully located in a pavilion in the courtyard, sheltered in summer and warm in winter. The Tarhana soup and Topkapi chicken were highlights of the modern Anatolian menu. On the following night, just as enjoyable, in the boutique-like bar area elevated slightly above the courtyard, we experienced beautiful service accompanied by the find of our stay – a dry, focused Turkish sparkling rosé wine from the Ankara region, which we felt was more than a match for any rosé Crémant, and more interesting to boot.

Read more: A sojourn in Egypt

In our minds, the Four Seasons Sultanahmet (there is another, bigger Istanbul Four Seasons on the city’s main waterfront, with more facilities including a swimming pool) is a city resort with a distinctly peaceful, holiday air. Unlike some city resort hotels, it is not trying to be a business hotel for some and a leisure hotel for others. It is a place where you can go to get away from it all, right in the middle of the oldest part of Istanbul, with city walls, and a few paces from three of the world’s most historic wonders.

fourseasons.com/sultanahmet

A view of Silence beach, where guests at D Maris Bay can enjoy the idyllic scenery

Nestled between the Aegean and Mediterranean seas, D Maris Bay offers a masterclass in understated luxury. From secluded beaches and world-class dining to designer boutiques and cinematic arrivals by yacht, this exclusive retreat in Turkey blends privacy, refined hospitality, and immersive experiences into one of the Mediterranean’s most coveted escapes. LUX Correspondent Maria Webster reports

There’s something undeniably cinematic about arriving at D Maris Bay. Perhaps it’s the winding drive through the Datça Peninsula, where the landscape begins to dissolve into impossible shades of turquoise and deep Aegean blue, just as the Mediterranean Sea meets the Aegean in a quiet, almost imperceptible collision of two worlds. Or maybe it’s the feeling that the resort exists in complete isolation, folded into its own private stretch of coastline where the outside world seems to fade out entirely at the edges of the land. That remoteness is precisely what gives D Maris Bay its rare sense of exclusivity – a place shaped around privacy, discretion, and the kind of escape sought by high-profile guests wanting distance from public attention.

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Life here unfolds at an entirely different pace. Mornings begin slowly with the scent of pine trees and wild Cretan rockrose drifting through open terraces, accompanied by the soft rhythm of the sea below. I stayed in a room with a wonderfully calming atmosphere and uninterrupted views across the bay – the kind of place where mornings were spent quietly with a cup of coffee, listening only to birdsong in complete silence as the coastline slowly came to life. Breakfast at The Terrace easily stretches into late-morning coffee overlooking the bay, while swims become long, unhurried rituals rather than brief interruptions to the day. There’s a natural fluidity to life at D Maris Bay that makes even the busiest schedules feel impossibly far away.

World-class dining at D Maris Bay includes Manos, a restaurant where the atmosphere carries a distinctly Greek spirit – celebratory, expressive, and deeply rooted in tradition

What struck me almost immediately was how even the arrival experience reflects that same atmosphere of effortless discretion. The resort is uniquely equipped to welcome guests by land, sea, or air, with its own private helipad and dedicated mooring facilities for yachts arriving directly at the bay. Guests can move seamlessly from boat to suite within moments, reinforcing the sense that every detail has been designed around privacy and ease. For those arriving by private jet, helicopter transfers from Dalaman or Bodrum airports transform what could be a logistical journey into something cinematic in itself, skimming across the coastline before descending directly into the resort in just under half an hour.

One of D Maris Bay’s most distinctive qualities is the variety of its beaches, each with its own atmosphere and personality. Bay Beach acts as the social heart of the resort – elegant, expansive, and vibrant, where the clarity of the water feels almost surreal. Silence Beach x Zuma offers the opposite mood entirely: quieter, more contemplative, where the soundtrack narrows to wind, water, and distant movement across the bay. At Manos Beach, the energy shifts again into something more celebratory, particularly in the evenings when music, cocktails, and dining spill naturally towards the shoreline.

Meanwhile, La Guérite Beach brings a distinctly Riviera-inspired atmosphere, balancing beach culture with polished Mediterranean glamour. Maris Beach sits closer to the heart of the resort, offering a more classic, relaxed shoreline experience, while Hidden Beach feels more tucked away and secluded, a quieter pocket that feels slightly removed even within the resort itself. Alongside these are smaller coves and platform-style areas that offer pockets of near-complete privacy, allowing guests to move between very different atmospheres without ever leaving the coastline.

Food plays a central role in that rhythm. Dining at D Maris Bay feels less like moving between restaurants and more like travelling through different experiences and cultures over the course of a stay.

The terrace during sunset at Zuma, which offers contemporary Japanese dining

On my first evening, I visited Zuma, one of the world’s most recognised contemporary Japanese dining destinations. As the sun disappeared behind the bay, the entire atmosphere seemed to shift into another register entirely. There was an understated glamour to the room – elegant, international, quietly electric – with beautifully dressed guests moving between tables as the scent of expensive cigars and refined perfumes lingered in the warm night air.

What makes Zuma so compelling is the precision behind it all. The menu balances restraint with boldness effortlessly, from beautifully delicate sushi and sashimi to robata dishes layered with smoky depth and texture. Every plate feels intentional without ever appearing overworked, perfectly suited to long evenings that unfold slowly by the sea.

Read more: Linder through the highball glass

Yet it was D Maris Kitchen that stayed with me most personally. In contrast to the international polish elsewhere, it offers something far more grounded and soulful -an intimate expression of Turkish culinary heritage. Led by Chef Turan Hantas, the restaurant feels deeply personal, shaped by a genuine reverence for local ingredients and traditional flavours. His passion for Turkish cuisine is evident in every detail, from the careful sourcing of produce to the quiet precision of each dish. Meals begin with vibrant mezzes and fresh seasonal salads before moving into beautifully executed grilled dishes rich with smoke and layered flavour. Everything feels honest, generous, and deeply connected to its surroundings. Then, at the end of the meal, comes a simple but meaningful gesture: a glass of traditional Turkish tea, grounding the experience in something comforting and familiar.

The Dior boat, which offers guests at D Maris Bay a private luxury mode of travel

Lunch at Aurora Capri brought an entirely different mood. With more than 130 years of history behind its name, the restaurant carries a quiet confidence that mirrors the spirit of Italian coastal dining itself. It became one of those effortless afternoons where lunch slowly dissolves into late afternoon conversation without anyone noticing the time pass. What stood out most was the simplicity of the menu – beautifully executed pizzas with unmistakable Neapolitan character, vibrant salads, and ingredients chosen with genuine care. Even the tomatoes, brought directly from Capri, carried a sweetness and depth that subtly transformed the dishes. It gave everything a sense of authenticity, as though a small piece of the island had travelled across the Mediterranean with them.

The cocktail menu follows that same spirit of understated Italian ease. Aurora Peach Bellini felt like the obvious choice: light, fragrant, uncomplicated, and perfectly suited to a long seaside lunch where time begins to loosen its grip.

Read more: The heart of London’s art circuit at the Royal Academy

Another memorable evening unfolded at Manos, where the atmosphere carries a distinctly Greek spirit – celebratory, expressive, and deeply rooted in tradition. What began as a relaxed dinner, gradually evolved into something far more immersive as live music filled the space and guests were drawn closer together by the energy of the evening. At one point, plates were broken in celebration, a gesture tied to wishes and shared joy that felt far more cultural than performative. What makes Manos memorable is not simply the spectacle, but the feeling of participation – the sense that you are not merely watching the evening unfold, but becoming part of it.

Fashion, too, feels naturally embedded into the world of D Maris Bay. Dior’s Riviera aesthetic subtly shapes parts of the resort, from the atmosphere around the Dior pool, where guests drift between loungers and refreshing turquoise water beneath the Mediterranean sun, to the beautifully designed Dior boutique hidden within the property. More than retail spaces, the boutiques feel like extensions of the resort itself – relaxed, sun-drenched, and carefully curated.

The Dior pool at D Maris Bay, offering guests a private retreat with views of surrounding nature

Informal, the resort’s boutique space, in particular stood out for its thoughtful edit of designers and artisanal labels, including pieces by master jeweller Sevan Bıçakçı alongside beachwear brands such as Eres, Mantero 1902, and Cult Gaia. It never felt overtly commercial, instead, shopping became another continuation of the resort’s aesthetic language.

And then there are the evenings – perhaps the most memorable aspect of all. Across the resort, signature cocktails created in collaboration with world-renowned Italian mixologist Giancarlo Mancino, arrive polished and inventive. The Terrace becomes especially atmospheric after sunset, when the bay itself feels woven into the experience. Its cocktail menu takes a playful yet refined approach, with each signature drink inspired by a different country, transforming the menu into a kind of global journey through flavour and presentation. It’s a subtle detail, but one that perfectly reflects the resort’s international sensibility while remaining grounded in its coastal setting.

What D Maris Bay understands so well is that modern luxury is defined by atmosphere, pace, and emotional immersion. Somewhere between the stillness of the sea, the discreet glamour, and the sense of complete removal from the outside world, the resort achieves exactly that.

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Four Seasons, Singapore offers a terrace pool, gym set, and longevity centre to guests

Like any city, Singapore has its phases when different parts of its desirable areas are in vogue. For a while, both Marina Bay and Sentosa were seen as the places to stay for the first-time luxury visitor. And while they have a lot going for them, wandering out from the Four Seasons Hotel, Singapore made us realise that Orchard, the city’s original luxury area, still has a lot going for it, too

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For starters, you are right in the centre of things, not on the edge of them, with luxury shopping and restaurants on your doorstep and the general joie de vivre of being in the centre of a world city.

‘One night we went to Nobu, overlooking the Japanese garden, more characterful and atmospheric than some of the Nobus we know’

And given that it is in the most expensive area of one of the most expensive cities in the world, the Four Seasons has an astonishing amount of both variety and space. The third floor, something of an eagle’s nest above the city – this is a very green area, looking down at the treetops – is something of a hub for the hotel guest.

To one side is a big outdoor pool and terrace with treetop views. To the other, an excellent gym set in its own Japanese garden and one of the world’s most respected longevity centres, if you can foresee a really long stay at the hotel. For upper-tier guests, there is also the club lounge, with its rotating menu of snacks all day and champagne and cocktails, artfully presented, complementary. Our room, far higher up, had a stunning view across the city.

The lobby welcomes guests into a space that fuses art deco and Singaporean design

It is the dining, though, that also makes the Four Seasons stand out. One night we went to Nobu, overlooking the Japanese garden, more characterful and atmospheric than some of the Nobus we know, with cuisine of the usual standards. On the next, we had an even more immersive experience of the wider region at the hotel’s atmospheric Chinese restaurant, Jiang-Nan Chun.

Read more: Linder through the highball glass

Obviously, Singapore is a way from China, but its history and culture meet in parts and the Cantonese cuisine was worthy of Hong Kong or Guangzhou. We also enjoyed the refined, quiet but purposeful atmosphere and superb service, as well as our midnight stroll around the quiet streets of Orchard afterwards.

fourseasons.com/singapore